Eastman Notes July 2006

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JULY 2006 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE DEAN

Charting a future course

Dear Friends, Transition and change provide the opportunity to celebrate past achievements and to chart a course for future accomplishments. Our heartiest congratulations and hopes for great success go forth with Jim Undercofler as he assumes his new responsibilities as the President and CEO of the Philadelphia Orchestra. As you will read in the pages ahead, Jim’s tenure as Director and Dean of Eastman has been marked by innovative accomplishments, which have strengthened the School’s commitment to leadership. As we look to the future, and to the coming academic year in particular, there exist three important initiatives that will have historic implications NOTES for the Eastman School of Music. The first is the search for our next Dean. Volume 24, Number 2 President Seligman has appointed a search committee, which will be chaired by July 2006 University Vice-President and General Secretary Paul Burgett. Information about the search can be found on Editor President Seligman’s web page on the University’s web David Raymond site: www.rochester.edu/president. Assistant editor The second initiative is the creation of a five-year stra- Juliet Grabowski tegic plan for the Eastman School. The faculty and staff Contributing writers have been identifying those projects and initiatives that Bobbi Lonobile will best enhance Eastman’s mission and strengthen its Contributing photographers position of leadership among music institutions. Areas Kurt Brownell Walter Colley of particular importance include: increasing financial Gelfand-Piper Photography support for students; upgrading and expanding rehearsal, Nathan Martel teaching, and performance facilities; improving the in- Photography coordinator ventory of music instruments and equipment; and in- Nathan Martel Jamal J. Rossi creasing the funding and opportunities for faculty, staff, Design and student professional development. Steve Boerner Typography & Design Finally, a primary question that is always at the forefront of a great faculty is “How best can we prepare our students for their lives as musicians?” The Eastman Published twice a year by the Office of Communications, Eastman School of faculty, under the leadership of the Undergraduate Curriculum Committee, is Music, 26 Gibbs Street, Rochester, NY, examining our curriculum with the goal of offering our students the best possible 14604, (585) 274-1050. educational experiences. This project will result in a curriculum that reflects the [email protected] shared values of the Eastman faculty. Thanks to the hundreds of you who completed a survey this past spring and shared your observations as alumni about ways to strengthen our curriculum. Ours is a school where the highest ideals of artistry, scholarship, and leadership are not only pursued, they are achieved. Since arriving at Eastman one year ago as the Academic Dean, and now having the honor and privilege to serve as the Interim Dean, my respect and admiration for our great school has been rein- forced and underscored on a daily basis. I look forward to the coming year with great confidence that the initiatives outlined above will create the gateway for a very positive future for Eastman.

Printed on recycled paper: 100% recycled fibers, Jamal J. Rossi, DMA ’87 50% post consumer waste, processed chlorine-free. Interim Dean

photographs by Gelfand-Piper Photography (CENDRILLON) and walter colley (jamal rossi) INSIDE

FEATURES 5 “One of our own” Eastman says goodbye to Dean James Undercofler 9 “I wish I knew then ...” Award-winning alumnus Alan “Buz” Kohan shares memories in addressing the Eastman A reflective class graduating 50 years after he did 5 goodbye from 13 Notes for women! Jim undercofler Eastman’s second Women in Music Festival (shown here with salutes Susan B. Anthony—and we welcome his wife, wendy, and other outstanding female musicians mitch miller bm ’32) 16 Renaissance reborn A new 4-CD set celebrates the early years of early music at Eastman

CONVERSATION 18 “A Valkyrie at 19”: Susan Marie Pierson This Eastman grad (BM ’74) is a respected Wagnerian soprano

2 COMING EVENTS 3 LETTERS Ars Antiqua brings back 4 CORRECTIONS 1 6 eastman’s early days of early music 19 SCHOOL NEWS 23 IN TRIBUTE 25 ALUMNI NOTES 26 SHOWING OFF 29 EASTMAN ALUMNI ON CD 38 FACULTY NOTES 40 STUDENT NOTES

A brand-new resource Gene Scheer’s words helped turn 1 9 for (and by) orchestra 3 3 Dreiser’s An American Tragedy into musicians an American opera

ON THE COVER: Soprano Megan Bell made a lovely Princess in Eastman Opera’s production of Chabrier’s ON THE INTERNET: More news about the Eastman School of Music, L’Étoile. See School News, p. 21, for more. including the full text of Notes and expanded alumni information, can be found online at www.esm.rochester.edu.

photographs by AMY VETTER (JIM UNDERCOFLER) AND KEN HOWARD/METROPOLITAN OPERA (AN AMERICAN TRAGEDY); line drawing by Sylvia Farrer Coming Events July-August 2006 • Glimmerglass Opera, Cooperstown, NY: premiere performances of The Greater Good by Stephen Hartke, commissioned by Hanson Institute for American Music September 15–17, 2006 • Shostakovich + Weinberg: An Artistic Dialog: Festival honoring the centenary of Dmitri Shostakovich and 10th anniversary of the death of Mieczyslaw Weinberg (see ad p. 27) October 12–15, 2006 • EROI Festival: With keynote speaker Orpha Ochse (MM ’48, PhD ’53) (see ad, p. 32) October 20–22, 2006 • Eastman Weekend: See adjacent ad November 2–5, 2006 • Eastman Opera Theatre presents Mozart’s La Finta giardiniera December 14, 2006 • Eastman-Rochester Chorus presents Mozart’s Mass in C Minor (as completed by Robert Levin)

Reunion at Eastman Weekend 2006 Please note that we inadvertently disseminated incorrect information regarding reunion years in recent issues of Rochester Review. The correct years have been published in Eastman Notes and on the web at www.esm.rochester.edu/ eastmanweekend. We apologize to members of class years ending in 2 #Ë#WÍMjÁËÔåÔÔ^ËÔååÉ^Ë ?ÄÍ?Ë.WË or 7 for any confusion this may have wË ÖÄWËÄËÄÍ~Ë?ËjÜjÍËwÁËjÜjÁßjË caused. Please be assured that your H[Ϗ[ϓ$ official celebration will be held on ËÖÁËÜ?ÄÍ^ËÍjÁWjWÍjaËWÖÍßËqË schedule in 2008, along with classes 9edd[ϓ$ ?ÄÍ?Ë8jjja^Ë?ËÖÍa?ßËjÞÍÁ?Ü?~?ã?Ë ending in 3 and 8. WM~ËÖË8jjja^Ë?ßË8jjja^Ë ;nf[ϓ$ ?aË ?ÄÍ?Ë ÖÍßË ÖÄWË.WË#¬jË ÖÄj±Ë ¾ÍËÄÄËÍÄË¬¬ÁÍÖÍßËÍËË ÝÍËwÁjaÄ^ËWj?~ÖjÄ^Ë?aËwjÝËjMjÁÄË Eastman Notes | July 2006 wËÍjË ?ÄÍ?ËWÖÍßË?ÄËÝjËWjjMÁ?ÍjË ÝÝÝ±jÄ±ÁWjÄÍjÁ±jaÖÊ?Ö ÖÁË¬?ÄÍ^Ë¬ÁjÄjÍ^Ë?aËwÖÍÖÁj±Ë LETTERS

wonderful collection of distinguished visit- Memories of Alec ing artists and artist faculty. It was published and Lou … by Dover in 1979 and is long out of print. If re-issued, that would make us Ouzer fans Thank you for a beautiful tribute to the very happy indeed. lifelong friendship of Alec Wilder and Louis —Glenn Bowen (MM ’56, DMA ’68) Ouzer in your feature “ ‘Dear Lou’: The ir- Tucson, Arizona replaceable Alec Wilder and the ‘letters he never mailed’ to his friend Lou Ouzer” in your January 2006 issue. … and “Jack” In annotating this new edition, we suc- Of great interest to me (in the June 2005 ceeded in keeping Wilder’s original text in- issue) was the article about “Jack” (as I knew tact while providing many additional clues to him in 1942¬43) Avshalomov. Wilder’s life story. However, I’m afraid that we When I was a wide-eyed, terribly naïve unintentionally omitted from the author cred- JANUARY 2006 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC freshman at Eastman, newly arrived from its one other “clue” that might be important 2005005 ESM Notes Jan 2006.indd 1 5/15/06 1:52:14 PM the Middle West, Jack invited me to come to ESM alumni: I am an alumnus myself. to his apartment to listen to records. As he When I began my doctoral studies at harmony. In preparing my DMA dissertation started to put on a recording of Hindemith’s Eastman, I was already fascinated by Wilder’s at Eastman (the absolute first dedicated to Mathis der Maler, I commented that I didn’t saxophone music and knew his popular the study of only Wilder’s music), I had nu- like contemporary music. He looked at me songs, but it was during those studies that merous conversations with him. He was very for a moment and said, “That, of course, is I formed treasured friendships with Lou clear about his studies at Eastman. your choice, but perhaps you shouldn’t say and Helen Ouzer, Tom Hampson, and other I hope that readers are aware of the Wilder that around the Eastman School.” Wilder friends in the Rochester community. Reading Room in the Sibley Music Library, I had, at least, the sense to be embarrassed Ralph Locke’s American Music seminar pro- and of the extensive archives of scores, re- by my gaffe. Over the years I have thought vided my first opportunity to write about cordings, reviews, letters, Wilder’s prose, and many times about his gentle kindness in Wilder, and I eventually helped to organize thousands of other items of interest. saving me from revealing my ignorance any and catalog the formation of the Alec Wilder I also remind readers that the Sibley Music further. The incident has stayed with me for Archive at Sibley Library. Library houses all the photographic images years and has been helpful in my own long For me, Wilder’s connection to Lou Ouzer is taken at Eastman, created by Lou Ouzer teaching career. also a deep connection to Eastman. I’m proud over 60 years. Perhaps now the University —Eleanore Hunt Vail (BM ’46, MM ’47) to have worked with University of Rochester of Rochester Press will reprint Ouzer’s Professor Emerita, Earlham College Press on this new edition of Letters I Never Contemporary Musicians in Photographs, a Oxford, Ohio Mailed, and that one of its main features is a new collection of Lou’s photographs of Alec. —David Demsey (DMA ’89) William Paterson University Wayne, New Jersey David Demsey is the editor of Alec Wilder’s Letters I Never Mailed.

Thank you for “The irreplaceable Alec Wilder” in the January Notes. You made me and other Wilder fans very happy. I offer a few comments/corrections: Wilder was never a registered degree student, but only a private student of Herbert Inch in counterpoint and Edward Royce in

Jacob Avshalomov and his wife, Doris, with their dog, Birdie, at their home in Portland, Oregon, in 1997.

PHOTOGRAPH BY PAUL KITAGAKI, JR./THE OREGONIAN LETTERS

We are still providing service to many bands CT. This year’s performing groups were the Two notable women in Northwest Georgia and southern Tennessee, concert band, jazz ensemble, chorus, guitar As a retired music historian who has special selling band, orchestral, and combo instru- class, African drumming troupe, drama class, interest in women composers, I was surprised ments and accessories and publications in as well as a piano solo, violin duet, and vocal to read in a recent edition of Eastman Notes a new store and also have six teaching stu- soloists … There are string players in my that music by two very prominent women dios in operation. I am also the agent for the band. It’s an interesting combination that composers, both associated with Eastman, Yamaha Music in Education Keyboard and is a result of trying to keep kids performing was apparently not included in your first Curriculum Classroom Teaching System for when programs are cut! festival, although composers such as Libby Georgia, Alabama, and Mississippi. And this Every year when I put this concert to- Larsen and Joan Tower, neither of whom has year we organized a New Horizons Band for gether, I think of my days at Eastman with ever been associated with Eastman, were. I the Rome area. You probably know that this fond memories. My thanks to Donald am referring to Emma Lou Diemer (MM is a marvelous program for adults originated Hunsberger for the idea of the Prism; it re- ’49, PhD ’60), who was the first woman in in Rochester by Roy Ernst, retired Eastman ally works with middle school students as the United States to receive the doctorate Professor. Our first rehearsal was January 9, well as with college students! in music composition degree, and Nancy 2006, and we have 40 members already. — Jacqueline (Cratin) Smith, BM ’85 Hayes Van de Vate (x ’52), the only American (And I thought I wanted to teach music Pomfret, CT woman composer known internationally theory in a college or university.) (despite any claims other women may make Perhaps this demonstrates the influence in this regard). I hope we may look forward of flexibility, although it reveals I have not to music by Diemer and Van de Vate being become one of the most famous composers, prominently featured in future festivals. performers, or teachers to help develop the —Florence Du Poit reputation of the Eastman School of Music. Montreal, Canada Nevertheless, when musicians see my Eastman diplomas in my office, they are impressed immediately! A Ruth Watanabe tribute —Donald Everett (BM ’50, MM ’51) An ESM Grammy update The June [2005] issue of Notes brought the Rome, Georgia In January, we proudly listed 14 Grammy news of the loss of two personalities vividly This was excerpted from an e-mail mes- Award nominations by Eastman faculty and remembered by all who knew them … While sage Don wrote in response to a request from alumni (that should have been 15—read on). Mr. Fennell, the Wind Ensemble, and his way EastmanMAIL. On February 9, only the Ying Quartet woke of making music are unforgettable to me, my to find itself a winner, in the “Best Classical encounter with Ruth Watanabe has marked Crossover Album” category for 4 + Four my life. Thus I couldn’t not have tried to (Telarc 80630), the Yings’ recent collabora- put into words what she has meant and still Prism revived tion with the Turtle Island String Quartet. means to me as a tribute and an expression I’ve been meaning to write about a special However, alumnus Bill Cahn (BM ’68) pointed of my unending thankfulness to her. concert we have been doing for the past few out that he is a featured percussionist on the —Lisbet Thew (x ’45) years at the middle school where I teach. Paul Winter Consort’s CD/DVD Silver Solstice Kilchberg, Switzerland When I was a student at Eastman, my favor- (Living Music 40), which won the “Best New ite concert to participate in was the Prism Age Album” Grammy—the first Grammy to a Concert. Does Eastman still do a Prism release with DVD audio. We missed this nomi- Keeping flexible concert? I always wanted to be able to do nation, but we congratulate Bill. (For another When Howard Hanson addressed the 1950 one with my students, so I tried it when we piece of Eastman Grammy news, see p. 27.) graduating class, he advised us to “be flex- opened our new performing arts center in ible”—that we might end up doing something 2001. It was a smashing success, and both stu- other than what we thought we wanted to do. dents and parents have requested it annually. Following that advice, this year I am cel- So now we put on a Prism Concert during Corrections ebrating the 50th anniversary of The Music Parents’ Weekend every October. Yes, that is In our January 2006 Faculty News, we in- Room, Inc., as chairman and owner. Prior an early time for a concert, and it always con- advertently neglected to list Robert Morris, to opening the Music Room in 1956 with flicts with Alumni Weekend at Eastman! Professor of Composition and a past chair of my wife, Gwen, in Rome, GA, I taught band, Our concert showcases all of the perform- that department. Bob was also honored in chorus, and piano in Marietta, Cobb County, ing opportunities at The Rectory School, a September 2005 for 25 years of teaching at GA, for five years. junior boarding and day school in Pomfret, Eastman. Notes regrets this omission!

Eastman Notes | July 2006 Eastman alumnus, dean, and innovator James Undercofler reflects “One of on his years at the School our own” Steps to greatness: In April 2006, Dean James Undercofler announced that he would Jim Undercofler be leaving the Eastman School of Music to become CEO of the ushered Eastman Philadelphia Orchestra, effective August 1, 2006. into the When James Undercofler was appointed Dean of the Eastman School 21st century. in the fall of 1997, University of Rochester President Thomas Jackson’s letter to the University community stated: “A rigorous, national search for a Director led us to one of our own … Jim obviously knows the School from the inside out, and the School knows him.” While Jim Undercofler had been the School’s acting director for the preceding ten months, and Associate Dean for Academic Affairs since July 1995, his relationship with Eastman went back to the mid-1960s, when he was a student. He was the first Eastman director to be an alumnus (BM ’67). During his nine years leading the Eastman School, Undercofler steered the institution through the choppy waters of a rapidly changing musical world. This required new, and sometimes controversial, ways of thinking about the role of classical music and musicians in a wider and “wired” world. Shortly before leaving, Jim reflected on this, and on some of his other achievements at Eastman.

By David Raymond t was at Eastman that I had my first exposure to expansive ideas about the music in the community, the power of music, and the responsibility of musicians,” says Jim Undercofler. “When I arrived, I was in awe of the place— besides exceptional music making, I felt a special energy and a sense of belonging.” Eastman in the mid-’60s was a strictly regulated place; Undercofler I remembers that students were still not allowed to practice on Sundays. But as president of the sophomore class and of the dorm council, he did learn that it was always possible to change an existing system. He also struck a blow for musical forward thinking, as one of the founders of Musica Nova—the contemporary music program that is still going strong here. “Howard Hanson had been opposed to European musical modernism, so works by such composers as Varèse and Dallapiccola had never been heard here,” he recalls. “This CONTINUED ON PAGE

PHOTOGRAPH BY KURT BROWNELL July 2006 | Eastman Notes CONTINUED FROM PAGE Previous directors was a whole new world for many students, and those concerts were The Eastman School, founded in 1921, had only four very well attended.” directors before Jim Undercofler. After receiving his bachelor’s degree from Eastman and a master’s degree from Yale, and doing doctoral studies at the University of Alf Klingenberg (1921–1923) Connecticut, Undercofler’s career embodied his “expansive ideas” Alf Klingenberg founded the about music education. From 1976 to 1985, he directed the Educational Dossenbach-Klingenberg School Center for the Arts in New Haven, an arts organization devoted to of Music (later DKG Institute) service for students and teachers; from 1986 to 1995, he was founding in 1913. In 1918, George Eastman director of the Minnesota Center for Arts Education, a state agency es- bought DKG for $28,000, selling it tablished to meet the artistic educational needs of students statewide. to the University of Rochester for $1. During his term the Eastman roactive thinking about the role of music and musi- Theatre and Kilbourn Hall were built as gifts to the School cians in a community is as venerable an Eastman tradition from George Eastman. Klingenberg died in 1944 in his as any, dating back to George Eastman’s own commit- native Norway. ment to music as a tool for community betterment. When PUndercofler arrived in 1995 as Associate Dean for Academic Affairs, Howard Hanson (1924–1964) the great tradition was facing some important challenges. One of his Howard Hanson was for much charges was the implementation of the Eastman Initiatives, a sweep- of his life one of America’s most ing series of academic and policy changes based on studies initiated famous composers, conductors, during the tenure of Robert Freeman. The Initiatives affected course musical statesmen, and educators. offerings, professional education, community outreach, and most Hanson was invited to head basically the relationship of musicians to the “outside world.” the School in 1924, at the age The changes would affect the School in fundamental ways, but of 28. He made it a center for Undercofler knew that if Eastman proceeded with them, it would contemporary American music with the Festivals of become a unique institution among major music schools. American Music, which ran from 1931–1971. “For many years, the philosophy was ‘people will come.’ And they did come. But in the ’70s and ’80s the number of talented students Walter Hendl (1964–1972) diminished, and there were more schools vying for a decreasing Walter Hendl, a graduate of the number of students. Curtis Institute, was associate “For a time, all music schools were exactly alike, but Eastman conductor of the New York broke out of the pack. I believed Eastman was ready for new and ex- Philharmonic (1945–49), music citing ideas—if I didn’t I would never have left Minnesota. director of the Dallas Symphony “I found a fantastic faculty that was willing to explore new ideas, (1949–58), and associate that wanted to make Eastman a cutting-edge school—and was will- conductor of the Chicago ing to provide the financial and structural support to make it hap- Symphony (1958–64). While at Eastman, he invited such pen fairly fast.” international composers as Stravinsky, Khatchaturian, and There were many outstanding achievements in the “Undercofler Penderecki, and helped create the jazz program. Era”: • Most important, to him, was hiring more than 45 faculty members Robert Freeman (1972–1996) and administrators—“It is through them that the historical mission Robert Freeman was a noted of the School—the Artistry, Scholarship, Leadership—is realized.” pianist, musicologist, and • “I remembered what a strong partnership Eastman had with the administrator before coming to Rochester City Schools in the ’60s,” he says, “and I wanted to forge Eastman. During his tenure, he those strong community partnerships again.” Two great successes undertook the building of Sibley are the Pathways Program, a strong commitment to supporting Place (later named Eastman Place urban music education; and the Music for All chamber music and then Miller Center) and program (see p. 22). the construction of the Student Living Center on Gibbs • The Eastman campus grew to include all of Gibbs Street from the Street. After leaving Eastman, he was president of the Student Living Center to East Avenue. New England Conservatory, and is now dean of the music • An urgent need in the 1990s was the updating of the technological school at the University of Texas–Austin. infrastructure and increasing of Technology and Music Production

Eastman Notes | July 2006 PHOTOGRAPHS COURTESY EASTMAN SCHOOL OF MUSIC ARCHIVE staff. “We were woefully far behind in this area when I started board member of the American Symphony Orchestra League, he is here,” says Undercofler, “but now our technical capabilities are as definitely familiar with the orchestral world. One of his last initia- good as any music school’s, I think.” This includes not only com- tives at Eastman was developing Polyphonic.org, a Web resource for puter upgrades and digital recording equipment, but also hosting orchestra musicians (see p. 19). long-distance master classes on Internet 2. “There are similarities to running the Philadelphia Orchestra and running the Eastman School—for example, the orchestra has 104 n Philadelphia, Jim Undercofler will be leading the orchestra full-time musicians and the school about the same number of faculty he remembers hearing as he grew up. It is unusual for a school members. The work in both cases is about the guiding and leadership administrator to be chosen to lead a top orchestra; the usual of musicians—and defining the artistic voice of the orchestra, with course is to work one’s way up the orchestra-industry ladder. the help of the music director.” IBut Philadelphia Orchestra officials were impressed by his fund-raising ability, his interest in delivering classical music through such im Undercofler’s advice to his successor is simple: “Keep new technology as streaming broadcasts, and his ability to articulate to the mission of the School.” But he is also aware that in the his belief in the power of music—abilities all well-honed during his 21st-century musical world, that may not be as simple as it years at Eastman. sounds. “The great question for the Eastman School is not On the other hand, he’ll face some entirely new challenges, most J academics versus performance,” he says; “it is old-think versus notably negotiating a labor contract with the Philadelphia Orchestra new-think”—two very different ways of thinking about the classical musicians, whose contract expires in September 2007. But as a music world.”

Moving Eastman forward: Jamal Rossi

Last spring, after less than a year as Eastman’s new academic dean, Jamal Rossi was announced as interim dean of the School after Jim Undercofler’s resignation. Like his predecessor, Rossi is an Eastman alumnus (DMA ’87). “I returned to Eastman after nearly 20 years away to be a part of this great faculty, to have the opportunity to work with Jim Undercofler, and to utilize my talents in helping to shape the future of Eastman,” says Rossi. Prior to arriving at Eastman in the fall of 2005, Rossi served as the dean of the School of Music at the University of South Carolina where he facilitated the creation of new programs like the “Center for Southern African American Jamal Rossi returned Music,” the “Southern Exposure New Music to Eastman in fall Series,” and the “Southeastern Piano Festival.” 2005. He also led the planning and funding for two new buildings, and fostered a program that served as a national model for the American String Teachers Association “String Project Consortium.” From 1989–2000, Rossi served as the assistant and then the associate dean of the Ithaca College School of Music. As an active saxophone performer, Rossi has commissioned/premiered nearly twenty new compositions, has recorded numerous solo and chamber music recordings, has been a soloist with numerous symphony orchestras and military bands, and was a member of the Empire and Carolina Saxophone Quartets for more than 15 years. “Serving as the interim dean is a distinct honor. I look forward to working closely with the faculty as we continue to move Eastman forward as a vital leader of music institutions.”

PHOTOGRAPH BY WALTER COLLEY “ Inspiring, extraordinary, significant ” On May 11, 2006, the Eastman community officially said goodbye to Jim • Supported publications of books, articles, and recordings (often Undercofler at a reception on the Cominsky Promenade. Professors Robert produced at Eastman); Morris (composition, theory) and John Graham (viola) had particularly • Supported the University Bridging Fellowships for academic fac- eloquent words to share. ulty at a time when the central administration delegated such support to colleges and schools; • Supported new programs in guitar, jazz studies, ethnomusi- Robert Morris cology, early music, the Institute for Music Leadership, and Directing one of the best music schools in the world is a chal- allied programs; lenging job, but today the present state of music in America—flux • Supported composition and jazz (Ossia, Alarm Will Sound, Musica and uncertainty—makes this a Herculean task. Many music insti- Nova) and the invitation of world-class guests, fostering greater tutions and traditions of the past are radically changing or defunct: connection with new music in Europe and Asia; concert institutions and management; music and academic publish- • Supported ethnomusicology and the tolerance of difference; ing; promotion and journalism; music patronage and the audience. • Accepted and protected sexual and political difference And, while we all enjoy popular and orientation; music, the rise of pop and medi- • Changed and improved the Community Education Division; ated music has pushed classical • Stimulated discussion of major issues at chair and full music into a niche. faculty meetings. This is a difficult time for se- This is a tremendous record of achievement! Inspiring, extraor- rious music. But over the last 11 dinary, significant. James Undercofler has not only kept Eastman’s years, Jim has promoted a com- hand in, but also gotten the upper hand. pelling vision for the future of the School. Jim understands that we must continue to deal with John Graham the present impermanence with The word “vision” has come to be associated with your name, not a creative and flexible attitude, just here, but out of town as well. This word is used to describe your and that we need to understand insight about how we might move into the future. and use change itself to maintain The use of it implies a trust of that insight, and I think this trust rigor in the practice and study is built on a reading of the quality of your enthusiasm for move- of music. This helps us revital- ment. Instead of bemoaning the sociological factors through which ize the past as we contemplate the music we love is passing, instead of crying about how “the sky is the future. falling in,” your insight leads towards the dynamics of re-definition Jim has resisted easy solutions and re-generation of the ways in which this music will be prepared, that would lower standards. He has realized that the School needs to purveyed, and preserved. support the profession with some of the functions and products that But there is another, less visible, way in which you are a visionary, publishers, recording companies, and music agents used to provide. and that is in the natural way you are able to see and sense the world Among his many achievements, Jim has: as it is, without the superimposition of categories. Performer/acade- • Brought the draw on the endowment down from a high 7% mician; new/old or classical/popular music; educator/administrator— to a low 6%, thereby protecting the financial solvency of these categorizations of intentions are often necessary, but, just as our endowment; often, they are limiting to the flow of our ideas. Your vision is to be able • Equalized faculty salaries and earmarked more money for depart- to consistently know that the flow is ultimately more important than mental work (lectures, visitors, travel allowances); the particular channel, and to be able to lead from that awareness. You have given us deep insight with the easy accessibility of a great At a May 11 reception, Dean Undercofler received two meaningful listener. Those insights have altered the perspective of this School, gifts. One (above) was a chair engraved: Given in grateful appre- and the many other schools who have the habit of being moved by ciation for your visionary leadership, unwavering dedication, and what we do here. lasting contributions, from your colleagues and friends at the To know that your visions will now be offered to the channels that Eastman School of Music. The other was Becoming, a unique CD define a great symphony orchestra is to know for sure that the greater with excerpts from notable recent Eastman performances, includ- world of music will now more instantly receive the benefit of these vi- ing Frederick Fennell’s final performance at the School in 2004. sions … and that will offer us consolation for how much we miss you.

Eastman Notes | July 2006 PHOTOGRAPH BY NATHAN MARTEL “I wish I knew then . . .” Award-winning alumnus Alan “Buz” Kohan shares memories (and drops a few famous names) in addressing the Eastman class graduating 50 years after he did

After graduating from the prestigious Bronx High School of Science, Alan “Buz” Kohan (BM ’55, MM ’56) went on to the Eastman School of Music, where he got his bachelor’s and master’s degrees in composition. His scripts, music, and lyrics for a vast number of television awards shows and specials have won 13 Emmy Awards, the second-highest individual total in television history. Buz has received a long list of other media awards. This year, he took on a new writing challenge—Eastman’s 2006 Commencement Address—and met it very successfully.

By Alan “Buz” Kohan

hank you very much for this honor. Many years ago, I wrote a line for George Burns in a television special. He was 95 years old at the time, and the line went, “When I was a young performer, That I used to get a standing ovation … Now I get an ovation just for was then: standing.” Alan ‘Buz’ TWell, I’m not quite at that point yet, but I do thank you for the tribute. Kohan’s 1955 Members of the faculty and the administration, honored guests, friends, and Eastman soon to be honored members of the graduating class of 2006: It is a privilege yearbook for me to stand here surrounded by such an outstanding and eclectic group to photo. address the graduating class of 2006. It has been fifty years since I left the con- crete campus to try my luck in the cold hard world out there, a roll of the dice which you are about to take as well. Fifty years of ups and downs, triumphs and defeats, meeting and be- friending some of the outstanding persons and personalities of the past CONTINUED ON PAGE 10

PHOTOGRAPH courtesy Eastman School of Music archive Buz Kohan got an ovation for standing—and for delivering one of Eastman’s funnier Commencement addresses.

CONTINUED FROM PAGE So, the first thing I wish I knew then was to be better prepared to half-century, putting words into the mouths of beautiful but inar- face new situations; and, number two, not to make out in the prac- ticulate people, putting notes into the throats of some of the most tice rooms because the doors don’t lock from the inside. incredible voices of our time, and giving audiences a cause to laugh, I think I got to Eastman on a fluke. There must have been a real to think, to be moved, and even on occasion to be inspired. shortage of composition majors that year, because for my audition, I Though I love continuity and symmetry, in order for me to get sent a recording of a piece I had written for a Memorial Day Assembly some thoughts across to you in this limited amount of time, I’m at the Bronx High School of Science. It was an anti-war piece for going to be jumping around a bit, so bear with me, and we’ll all be piano, trumpet, percussion, and narrator called What Shall It Be? I was able to throw our mortarboards in the air and shout “Free at last!” so unschooled, I played the piano part myself and taught the others before you know it. their parts by rote because I didn’t know how to notate anything. In thinking about what I could say to you this morning that would I sent this 12-inch acetate recording, made at the performance by have some relevance and resonance from the perspective of a half- some nerd on the audio-visual squad, as a sample of my work, and century of absence, I thought it might be easier if I put down some got a letter a short time later saying I was accepted as a composition thoughts under one large heading. The title of that umbrella was Things major for the 1951 fall term. I Wish I Knew Then, and here are some of the items that made the cut. As Groucho Marx once said, when informed he was accepted as a member of an exclusive country club, “I don’t think I want to join any ack in 1951, I arrived in these hallowed halls as a compo- club that would accept me as a member.” I had similar doubts about sition major, fresh from the Bronx, with such a minimal coming here, but it turned out to be a wise choice, thanks in no small concept of what I was getting into that for my piano exam, I part to a number of extremely understanding, compassionate, and played “Tenderly,” in the key of E-flat. They graded me a 4-B- patient teachers who threw me into the deep end, but stood by with BQuestion Mark, and assigned me a teacher named Jerry Diamond, who musical life preservers in case things got too over my head. sounded more like a private eye than a pedagogue. In the four years that There was the rail-thin Scandinavian theory teacher, Elvira followed, my piano grade did improve numerically and alphabetically, Wunderlich, who looked the other way and smiled when I would but I believe the question mark remained to the very end. harmonize a Bach chorale and end on a major seventh.

10 Eastman Notes | July 2006 PHOTOGRAPHS BY Kurt Brownell There was the movie-star handsome composition teacher, Louis Mennini, who in later years had to live down the shame of having a brother who headed up that inferior musical institution, Juilliard. Louis was extremely caring and easygoing, and his greatest pleasure was to expose us to all kinds of music. We would have listening sessions at his house on the weekends, and a lot of “long hair” was let down over wine and cheese. Mostly wine … the cheese didn’t do that much. I guess he had particular empathy for me, having started his musical career as an accordion player with his brother, Peter. (Steve Allen once had bumper stickers made up that read, “Use an accordion, go to jail.”) So when I got to be in Louis’s class, he had probably already felt the sting of being an outsider, and understood my fish-out-of- water status here. I guess the I Wish I Knew in those cases was: I wish I knew enough to express my heartfelt thanks for their care, and for that of other faculty members above and beyond the call of duty, when I had the chance. It’s really not good enough to assume they know how you feel. Make it a point, while you’re in the moment, to express your Congresswoman Louise Slaughter, who has represented the thanks to those who touched your lives in a profound way. Write Rochester area since 1984, received the first Eastman Luminary the note, send the e-mail, make the phone call. It means more than Award, “for her tenacious support of music and the arts on the you can imagine to the recipient, and saves you fifty years of I Wish national, state, and local levels.” I Would Have Done That.

n the Eastman Theatre today are three gentlemen whom I have known for over five decades. Two of them I have not seen in over five decades, but they are more than nostalgic touch- stones to the past. They are friends. IOne was my very first roommate, Sam Fricano. He was a trumpet player from Silver Creek, and back in those days, when there was no dormitory for men, we were roommates in a house at 90 South Union Street. We cooked bad Italian and Jewish food, shared dreams and a love of jazz, and swapped stories of two very disparate lives that ended up in the same place. Another one was a cello player from Pennsylvania, who actually made the U of R football team and played for the Yellowjackets while at Eastman. Probably the only thing more rare than a football-playing cello player at the U of R was a cello-playing football player at Eastman, and he was both. His name is Barry Hilbert. The third gentleman all of you know, but in a different context. He is the esteemed Professor of Percussion and longtime member of the Rochester Philharmonic, who has been on the faculty here, it Assistant professor of musicology Roger Freitas was a popular seems, forever. His name is John Beck, and when Sam and I moved choice for the 2005-2006 Eisenhart Award for Excellence to better quarters, the two of us, John, and another trumpet player— in Teaching: “a model of professionalism, scholarship, and Tommy Hohstadt, the “boy wonder of the trumpet,” from Stillwater, musicianship,” in the words of Interim Dean Jamal Rossi. Oklahoma—shared the downstairs of a house at 201 Meigs Street. Four other students lived upstairs, and we chipped in and bought a So, the I Wish I Knew Then item that applies to those situations is piano for $75, put it in the back room, and sometimes, there was ac- as follows: The friends you made at Eastman are probably some of tually music coming out of that room. the best people you will ever meet in your career and your life. Keep I won’t tell you about John in those days, because he could prob- in touch, share your joys and disappointments, and don’t lose track ably tell tales about me, and it’s probably best that we both maintain over the years. To paraphrase the poet William Butler Yeats, “When a façade of dignity that befits our gray and/or thinning hair. CONTINUED ON PAGE 12

July 2006 | Eastman Notes 11 n May 25, 1956, fifty years ago almost to the day, there was a single performance given at Cutler Union of a musical revue called Once Over Lightly. I had written it as a requirement for my Master of Music degree in OComposition. The show had sets and costumes, sketches and musical numbers, a full 24-piece orchestra, singers, dancers, and all the elements of a professional production. Most of the music I had written and orchestrated was in the popular vein, with a big dose of Broadway thrown in, and it took a bit of doing to convince the powers that be—and they were powerful—to grant me permission to attempt this as my thesis. I went to the Director, Dr. Howard Hanson, the power that was, with my unusual request. He listened to my proposal, stroked his beard for a while, then said, “Well, if that’s what you want to do, go ahead.” Roomies reunited: Sam Fricano (BM ’55), John Beck (BM ’55, The total budget for the show, including a keg for the after-party, MM ’62), Barry Hilbert (BM ‘55), and Buz Kohan, in May 2006. was $600 … today, a paltry sum, but back then, more than I could CONTINUED FROM PAGE 11 raise by myself. At the time I was President of Alpha Nu Chapter of you are old and grey and full of sleep and nodding by the fire,” those Phi Mu Alpha, and I turned to my brothers for assistance in every are the people who will warm your soul. facet of the enterprise, including copying parts, building sets, being in the cast, and raising the necessary capital by two unusual methods. o far, I have covered some of the I Wish I Knew things that One was the reshelving of the books in the Sibley Music Library, happened here at Eastman. I’m sure those of you have read for which they were paid a total of $200, which they donated to- my bio would like to hear some juicy stuff about what hap- wards the budget. pened to me after I left the relative shelter of Eastman, and As fate would have it, the Eastman Dental Dispensary, in conjunc- Swhat I learned in the glamorous, scandalous, high life of big time tion with the Dentyne company, was running an experiment on the show business. effect of their chewing gum on stained teeth. Those who qualified I wish I knew, when I was writing a television special for a group were required to chew a certain amount of gum, appear once a week that was signed to the Motown label, that the little twelve-year-old for a light meter reading, and at the end of eight weeks, would be bundle of talent who kept hanging around me, suggesting that we paid a fee for their cooperation. As it turned out, a good number of ought to write some songs together, would turn out to be Michael brothers had bad enough oral hygiene to qualify, and at the end of Jackson, whose songs, all but a very few of which I did not write with the experiment, which happened on the day before the performance, him, made him the largest record seller in the world. they each handed over their checks to me—which totaled $400. I wish I knew 44 years ago, when my agent arranged a meeting with So that’s how we raised the budget for Once Over Lightly, which this odd-looking singer on the same day as my wedding, and we drove got me my Masters degree from what was then a very serious insti- into New York after the ceremony to meet with her, that she would tution, got Alpha Nu named Chapter of the Year, got national press turn out to be Barbra Streisand. I’ve worked with her many times coverage because of the way we raised the funds, and got me to real- since then, and always remind her that I spent my wedding night ize that one could rely on the kindness of strangers if you truly make with her. Her husband is not too thrilled when I say that. them your friends. I wish I knew how painful it could be to give your heart to certain performers, and write their final farewell TV specials, knowing you ne last I Wish I Knew before we all go our sepa- would never have the pleasure of seeing Sammy Davis, Jr., or Frank rate ways. Sinatra, or Richard Pryor work their magic on an audience again. I wish I knew how you are all going to end up fifty … But I would do it again at the drop of a downbeat, and I guess years from now, but since that’s not possible, all I can that’s the point of many of these I Wish I Knews. Even though you Osay is, you’ve been given a golden opportunity to be a part of some- know certain things, and you can look back and think with the wis- thing special and nurturing here at Eastman, and the farther away dom of hindsight, that you would have chosen a different path or a you get from this day, the more you’ll appreciate what a gift it was. different solution, everything that happens in life happens for a rea- Meliora to you all, thanks for inviting me, and remember to “Stop son. It’s the journey that matters, not the outcome. and Smell the Lilacs!!” Fear is part of the equation when facing new challenges, but if someone says, “Can you do this?” say “yes,” and then figure out a way On the Web You can read the complete text of Buz Kohan’s speech to do it. A “no” closes the door immediately; a “yes” leaves it open for (including more memories of Eastman and of Hollywood) at wonderful things to happen. www.esm.rochester.edu/news, under “May, 2006.”

12 Eastman Notes | July 2006 PHOTOGRAPH courtesy Barry Hilbert In a Main Hall concert, harpist Jennifer Ruggieri performed Night Dances by the Welsh harpist and composer Ruby Aspinall. Nineteenth-century musical selections paid homage to Susan B. Anthony (below). Notes for women! astman’s Women in Music Festival, successfully established Eastman’s second in 2005 by Assistant Professor of Chamber Music Sylvie Beaudette, offered even more in its second presenta- Women in Music tion on March 27¬31, 2006. Several centuries of music by women com- Festival salutes posers was featured, from Barbara Strozzi (1619¬1664) to current DMA student Beata Susan B. Anthony— Golec. The 2006 Festival commemorated the centennial of Susan B. Anthony’s death with a concert of and we welcome E 19th-century music, beginning with Marie Zimmerman’s rousing Votes for Women! and continuing with parlor songs, other outstanding art songs, and piano duets. The week also included a “Women in Music” panel discussion and a Sibley Library exhibition, female musicians “Music in the Time of Susan B. Anthony.” And apart from the Festival, Eastman hosted several other “women of By David Raymond note” during the spring 2006 semester. CONTINUED ON PAGE 14

PHOTOGRAPHs BY GELFAND-PIPER PHOTOGRAPHY AND Courtesy THE LIBRARY OF CONGRESS (SUSAN B. anthony) July 2006 | Eastman Notes 13 Eastman students performing at the Women in Music Festival included violist Kimberley Fitch and cellist Sunny Yang in a string quartet performing a work by Libby Larsen (above), and baritone Zachary Palamara, shown studying Thea Musgrave’s Four Portraits (below).

Selections included a medley of Suffragette songs, a Joni Mitchell tune, and many sophisticated instrumental and vocal pieces by women composers, performed by Eastman students and faculty members before audiences of all ages (left).

PHOTOGRAPHs BY Gelfand-Piper Photography Libby Larsen, one of America’s most frequently performed composers, made a whirlwind visit to Rochester from March 3–5, skillfully orchestrated by Eastman, the Rochester Philharmonic Orchestra, the Hochstein School of Music, Chamber Music Rochester, and The Commission Project. The centerpiece of Larsen’s visit was the premiere of her Sextet for Winds and Piano, performed by a 100% Eastman ensemble: flutist Diane Smith (BM ’73, MM ’75); oboist Judith Ricker (BM ’76, MM ’81), clarinetist Margaret Quackenbush (DMA ’82), current Professor of Bassoon John Hunt (BM ’72), hornist Mary Hunt (BM ’72), and pianist Joseph Werner (BM ’73, MM ’75). Larsen also gave master classes for performers and composers; here she is shown with clarinetist Kara Bancks (MM ’06).

Metropolitan Opera star Ruth Ann Swenson gave a master class That great lady of jazz Marian McPartland paid tribute to Rayburn on the Eastman Theatre stage on February 22—for sopranos only! Wright in a January concert. In a master class, sophomore Jeremy Six students sang six high-flying songs and arias. Here, Swenson Siskind received high praise from McPartland, and an impromptu coaches Maria Bellanca, who sang Bellini’s L’affandano. invitation to appear on her long-running NPR program Piano Jazz.

PHOTOGRAPHs BY KURT BROWNELL (RUTH ANN SWENSON) AND GELFAND-PIPER PHOTOGRAPHY (LIBBY LARSON, MARIAN MCPARTLAND) July 2006 | Eastman Notes 15 Renaissance REBORN

A new 4-CD set celebrates the early years of early music at Eastman

By David Raymond

istory repeats itself in a new CD set that pre- serves a fascinating chapter in Eastman’s performance history—the concerts of Ars Antiqua, the School’s first professional-level early music ensemble. Ars Antiqua was founded in 1957 by cellist Dorothy Amarandos (BM ’46, MM ’47), who changed her performing emphasis to the viola da gamba after some health problems made cello playing difficult. She had studied at Eastman with Luigi Silva, an acknowl- edged expert in Baroque music and performing. The group’s first presentation at the Memorial Art Gallery was “such a hit,” Dorothy recalls. “It was considered so different at that time—a through-composed concert performance with a script. We were more or less pioneers in early music performance at Eastman.” In fact, there were few such groups anywhere in America—Noah New York State regularly. “It was insanity!” Dorothy recalls. But it Greenberg’s New York Pro Musica was a famous exception. was well-scripted insanity. Each Ars Antiqua presentation was a me- Starting as a small vocal-instrumental ensemble, Ars Antiqua’s per- ticulously researched show on a particular theme or subject, ranging formances grew to include period dancing, dramatic excerpts from from the 12th to the 18th century. such writers as Shakespeare, Dante, and Molière, medieval church As treasurable as the group’s performances were its beautiful dramas, and even a short opera or two—all in historically accurate programs, brochures, and newsletters, researched by Dorothy and costumes and surrounded by appropriate art from the MAG collection. designed by Sylvia Farrer, which copied such old forms as illumi- Most of Ars Antiqua’s performers were Eastman students or gradu- nated manuscripts and woodcuts (see the initial for this article). ates, guaranteeing a high level of performance. Ars Antiqua disbanded in Rochester in 1967; Dorothy went to Ars Antiqua’s schedule quickly grew to four productions a year— New York City to start a similar group, and eventually did the same and sometimes three concerts in a day. The group also toured across at Ohio State University, where she became professor of cello. The

16 Eastman Notes | July 2006 Illustration by Sylvia Farrer renaissance of Ars Antiqua began a couple of years ago, when Wallace Ars Antiqua in the early 1960s, photographed by Lou Ouzer. Rust, one of the original members, sent Dorothy reel-to-reel tapes of Left to right: Masako Toribara (Professor Emeritus of voice), 17 different shows from 1960¬1965—only a fraction of the group’s Myrta Knox (MAS ’54), Joyce Castle (MM ’66), Madeline Ingram total, but a tremendous find. (BM ’45), John Ingram (x ’61), John Braund, Gordon Gibson, Using her own money, Dorothy decided to create a CD set that was Dorothy Amarandos, Alvin Fulton (BM ’52, MM ’53), Ralph Jackno not just a memento for Ars Antiqua members, but could be sold to (BM ’59, MM ’61), Francis Bundra (MM ’57), Carol Bundra (x ’56). the public. Dorothy’s son undertook the actual digitizing of the original four-track tape recordings, a process that took an entire year. The resulting 4- disc set contains well over four hours of music that once existed only in memory. With its new Italian baroque organ, the Fountain Court is once again the home of early-music performances; with the recent addition of Early Music Performance Four-CD set: An Ars MM and DMA degrees, they should con- Antiqua Renaissance tinue to flourish at Eastman. This pleases Dorothy, who traveled to Rochester last spring to promote Ars Antiqua Renaissance and to attend a reunion dinner of Ars Antiqua members. “Ars Antiqua was such a delight,” she says. “I’m so thrilled to have it brought back to life.” An Ars Antiqua reunion last spring, in front of the MAG Italian baroque organ. Left to right: Wallace Rust, Robert and Myrta ON THE WEB You can read much more about Ars Antiqua, and see more Knox, Sheron Dixon, Lewis Ward-Baker, Masako Toribara, Patricia pictures from its 1960s performances, at arsantiquarenaissance.com. Ward-Baker, Dorothy Amarandos, John and Nancy Braund, An Ars Antiqua Renaissance is available at cdbaby.com/cd/arsantiqua. Harrison Hood, Sylvia Farrer Bornath, Philip Bornath.

Photographs by Lou Ouzer (top) and courtesy Dorothy Amarandos (bottom) July 2006 | Eastman Notes 17 CONVERSATION “A Valkyrie at 19”: soprano Susan Marie Pierson

By David Raymond Did you always want to be a singer? I have done crossover stuff. My father had a dance band, so when I was growing up I knew I wanted to be an opera singer from I learned all the standards and big-band about the age of 12. When I was a cranky music—I loved it! I’ve also done cabaret eve- baby, my parents would put me in front of nings at Reno Sweeney in New York. Onstage, the stereo and play opera records, so to me, I had done Gilbert and Sullivan and The King opera was normal singing. Our music director and I, but this Sound of Music performance at Trinity Cathedral in Phoenix recognized in Seattle was the first in quite a while. The the quality of my voice, and I began to study first day of rehearsals, my heart was in my singing at age 14. When I performed in small throat! But “Climb Ev’ry Mountain” went great. recital that was attended by Richard Bales (ESM ’36, a noted conductor), he recom- Tell us about the Tristan und Isolde recording. mended me to Anna Kaskas at Eastman. The money for it was raised by private con- How did you get started in Wagner? tributions, which was unheard of. We started a non-profit, 501(c)3 company, and all the The summer I was 19, I spent with the North money we collected was used to make the Star Opera, which became the St. Paul Opera. Many fine singers have graduated recording—not to line a record mogul’s They did a Wagner opera every summer, and from Eastman, but Susan Marie pockets. And we had reserved the orchestra so at 19 I was a Valkyrie. Later I took part in Pierson (BM ’74) is surely one and the hall when the American dollar fell, the Seattle Ring cycles under Speight Jenkins, of the few to become a famous so we had to do some benefit recitals in and the work was prodigious, playing Norns exponent of such Everests of California, Washington, DC, and New York to and Rhinemaidens, and covering everybody, the soprano operatic reper- make up the difference. even Brünnhilde and Sieglinde. toire as Strauss’s Elektra (above) This concert was a debut in Tristan for me, and Brünnhilde in Wagner’s My first European Wagner performance was for the tenor [Marc Deaton], for the mezzo Ring—which she has performed in Nantes, France, where they did a complete who played Brangäne [Gwendolyn Jones], all over Europe, from the Paris Ring cycle, one each year. I was offered a job and for the conductor [Glen Cortese]. And Chatelet to the Deutsche Opera, as a Valkyrie, and eventually sang Brünnhilde because we had trouble getting equipment Berlin, to the Finnish National many times there. through Bulgarian Customs, the engineer Opera, Helsinki. Susan is also What about Italian opera? did not have a chance to set the levels and the first soprano to have sung microphone placements in a rehearsal—he Bartók’s Bluebeard’s Castle and I have sung several Verdi roles, beginning with was flying blind at the performance. Schoenberg’s Erwartung in a Amelia in Un Ballo in Maschera with Pavarotti double bill, as she recently did in Philadelphia, after I won the Pavarotti But everything worked out! with the Canadian Opera. Competition. I have also sung in Trovatore, The hall [the Eastman Theatre-sized National Aida, and the original five-act French ver- We’re also sure that Susan is also Palace of Culture] was sold out, the perfor- sion of Don Carlos. I was encouraged to the only Eastman grad to star mance was successful, and I think the record- do more Italian repertoire, but it never felt in a live recording of Wagner’s ing came out very well. [One reviewer stated completely right for my voice. And the way Tristan und Isolde—made in that Susan “sang with a gloriously round, the Verdi librettos are written, with all that Sofia, Bulgaria in February 2004, supple tone, providing an Isolde of majesty musical repetition—it felt a little silly to me and recently released on the and, ultimately, pathos.”] after Wagner. Frankly, I did not like many of Titanic label. This recording, with the women characters in these operas; they some other aspects of Susan’s ON THE WEB You can read more about Susan, seemed weak—like pawns. Many will disagree varied career, was the subject of see photos of her in her many operatic roles, with me, but I found Aida to be a wimp! our conversation this spring. and listen to her in excerpts from Tristan und You recently performed in a very different Isolde at www.SusanMariePierson.com. The kind of musical theater role—the Abbess in Tristan recording (Titanic 261) is available from The Sound of Music. Amazon.com and other online retailers.

18 Eastman Notes | July 2006 PHOTOGRAPH courtesy Guy Barzilay Artists SCHOOL NEWS

By musicians, for musicians: Polyphonic.org’s home page. The Orchestra Musician’s Home Companion

On April 10, Eastman’s Institute for Music ful”: educational and informational services • A dynamic interface and virtual discus- Leadership unveiled Polyphonic.org, a com- to help career musicians realize profession panels on hot topics facing orchestral prehensive website for professional or- sional growth, personal fulfillment, and job musicians chestral musicians. The website is the first satisfaction. • Orchestra Spotlights—profiles of North project of the Orchestra Musician Forum, Polyphonic.org’s features include: American Orchestras, including the San created last year by the School thanks to • Award-winning writer Greg Sandow’s Francisco, Grant Park, and Nashville the $1.2 million video interviews with Gloria dePasquale, Symphony Orchestras gift of philanthro- Fergus McWilliam, Robert Wagner, Tina • Daily news feeds from ArtsJournal.com pist and Symphony Ward, and other progressive musicians on After just a few months up and running, Orchestra Institute such topics as professional development, Polyphonic.org has already attracted 400 reg- founder Paul R. entrepreneurship, the business of orches- istered users and much respect in the musi- Judy. tras, and health and injury prevention cal community. “Our initial research showed Designed by musi- • An ongoing research project by Drew that today’s orchestral musician wants to be cians—professional McManus with 1,400 orchestra musicians more of an active participant in the life of his/ players, industry in 90 orchestras about their needs, prob- her orchestra,” says Polyphonic.org’s editor-in- Ramon Ricker consultants, music lems, and challenges today and tomorrow. chief, and director of the Institute for Music educators, publishers, and more—for musi- McManus, Polyphonic.org’s Senior Editor Leadership, Ramon Ricker. “Polyphonic. cians, Polyphonic.org is truly the orchestra and Research Principal, is well regarded for org is facilitating that by giving musicians a musician’s companion, offering what out- his ArtsJournal.com blog Adaptistration, forum for sharing and learning about the top- going Dean James Undercofler has called which has been described as “a beacon for ics that impact their professional lives most, “the resources musicians need to be success- the future of classical music.” and the good news is that they are using it.”

PHOTOGRAPH BY NATHAN MARTEL July 2006 | Eastman Notes 19 Remembering Mamoulian Rochester tv camera crews are a common enough sight at Eastman, but this spring the School hosted a famous documentary film- maker from France. In May, Patrick Cazals, who has made more than 40 documentaries for French television, visited Rochester to research and film a segment for an upcoming TV film about the stage and screen director Rouben Mamoulian (1898¬1987). You may be aware that Mamoulian directed such Hollywood films as Dr. Jekyll and Mr. German composer Rolf Rudin lectured to composition and theory students. Hyde with Fredric March (1931), and Becky Sharp (1935), the first Technicolor feature, as well as the Broadway musical classics Porgy European composers visit Eastman and Bess, Oklahoma!, Carousel, and Lost in the Stars—but you may not know that from In recent years, Eastman has hosted sev- prano, and an idiosyncratic orchestra in- 1923¬1926 he lived in Rochester, working eral contemporary composers of interna- cluding two pianos, percussion, electric as a stage director and “dramatic instruc- tional reputation, including John Adams, guitars and keyboard, and cimbalom, was tor” for Eastman’s opera department, and for Krzysztof Penderecki, and Sir Harrison described by Democrat and Chronicle re- the short-lived Rochester American Opera Birtwistle. The tradition continued in 2006 viewer John Pitcher as “a sort of cross be- Company. with nearly simultaneous visits from two im- tween a Baroque Passion and a concerto Cazals visited the George Eastman House portant European composers. grosso.” Andriessen insisted on bringing to screen several of Mamoulian’s films; he During the week of February 20, Dutch the soloists who premiered La Passione with also visited Eastman, examining Sibley composer Louis Andriessen paid his first the London Sinfonietta in 2002: violin- Library archival material on Mamoulian and visit to the School, for several days of ist Monica Germino and mezzo Cristina filming in the Eastman Theatre. concerts and presentations. Zavalloni—a wise decision in the He also interviewed School Historian Andriessen, born in 1939, cites light of their brilliant, commit- Vincent Lenti, who describes Mamoulian’s his main musical influences as ted performances. Paired with brief stay in Rochester in the first volume of “Bach, Stravinsky, and boogie- that seminal work of modernism, his history of Eastman, For the Enrichment of woogie”; it is also inspired by Stravinsky’s Sacre du printemps, Community Life. Cazals’ hour-long film will minimalism and American jazz this was a very exciting concert! be shown on France’s Ciné-Cinéma Channel and rock music. It is hard-edged, Later in the week, Eastman in October 2006. aggressive, exciting music—and greeted the German composer extremely influential on many and theorist Rolf Rudin (b. 1961), Louis Andriessen younger composers. A February whose visit was a collaboration 20 Musica Nova concert led by Brad Lubman of the departments of Conducting and (who also performed, proving to be a vir- Ensembles, Composition, and Theory, and tuoso on xylophone and brake drums) fea- the Arts Leadership Program. tured Andriessen’s popular Workers Union, Rudin, a prolific composer who is es- along with music by Bang on a Can compos- pecially well regarded for his wind music, ers Michael Wolfe, David Lang, and Julia heard Mark Scatterday and Martin H. Gordon, all influenced by Andriessen. Seggelke lead the Eastman Wind Ensemble Two nights later, Brad Lubman led mem- and Eastman Wind Orchestra in his Das bers of the Philharmonia in the Rochester Verstromen der Seele, Vom Ende der Zeit, and premiere, and one of the first American per- Die Druiden. Rudin also lectured on his own Director Mamoulian (second row, sixth formances, of Andriessen’s La Passione. This music, and gave a survey of the “theory scene” from left) with the Rochester American half-hour work for solo violin, mezzo-so- in Germany. Opera cast of Carmen (1924).

20 Eastman Notes | July 2006 PHOTOGRAPHS BY Kurt Brownell (Rolf RUDIN, Louis ANDRIESSEN) AND COURTESY EASTMAN SCHOOL OF MUSIC ARCHIVE (CARMEN) SCHOOL NEWS

Two French rarities: Chabrier’s L’Étoile (above) and Massenet’s Cendrillon (below, with Kristen Goodkin as Cinderella). Enchantement! Merveille! Opera à la Française brings spring to Eastman To many operagoers, French opera means L’Étoile is perfectly French, and was extrav- Carmen and Faust, and that’s about it. This agantly admired by no less than Debussy, year, Eastman Opera Theatre offered visually Ravel, and Stravinsky. The wildly colorful set striking productions of two French discover- and costumes, inspired by the fanciful poin- ies full of charm, wit, and melody. tillist art of Paul Signac (1863¬1935), were Emmanuel Chabrier is best known for an elegant counterpart to Chabrier’s music. short orchestral works like España and Everybody knows the story of Cinderella, but Bourrée fantasque, but he also wrote sev- few know Jules Massenet’s opulent operatic ver- eral operas—and one operetta, L’Étoile (The sion of the story, Cendrillon. Eastman Opera’s Star—1877), which was Eastman Opera’s lavishly set and costumed spring production of winter studio production, directed by Steven this rarity was directed by Ted Christopher and Daigle. The bizarre and fanciful plot cen- conducted by Benton Hess. A big hit at its 1899 ters on a king of a mythical land who enjoys premiere at Paris’ Opéra-Comique, Cendrillon seeing an execution by impalement on his is seldom performed today because of its scenic birthday, and a peddler who volunteers for requirements, but the Eastman Theatre produc- the honor but falls in love with the Princess. tion highlighted some luscious music, and its All ends happily, mais oui. romantic, moonlit, fairy-tale atmosphere made Chabrier’s transparent, tuneful music for for a jewel of an opera in a jewel of a theater.

PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY SCHOOL NEWS

Eastman switches to Interfolio credential services

Eastman School of Music students and Interfolio files are maintained electron- ments electronically to participating institu- alumni will soon have a simple way to cre- ically by the file holder and are available tions or mail them to any location in the U.S. ate and manage educational or professional anytime, anywhere, from any standard web or around the globe. All active file holders credential files. browser. Eastman School of Music students have received more information about how This summer, the Office of Careers and and alumni will have the ability to control to sign up for this service. Professional Development will begin the their entire file, including adding and delet- Don’t miss out on the opportunity to take transition from a paper-based service han- ing documents, and scheduling the delivery advantage of this speedy and confidential ser- dled in Rochester, to an online service of- of a credentials file to an institution. With vice available 24/7! Visit www.esm.rochester. fered through Interfolio, Inc. a simple request, Interfolio can send docu- edu/careerservices for more information. Taking music to the streets (and malls and libraries)

This spring, dozens of Eastman students extensive and comprehensive outreach pro- “on the road” in March and April. brought their talents and passion for music gram of any collegiate music school. “All 21st-century musicians must become to the community, thanks to the School’s The students’ training begins each year powerfully communicative advocates for unique Music For All program. Chamber with a seminar in January during which a their art,” says Freer. ensembles of 2 to 6 musicians performed young professional chamber music group— “Music for All gives Eastman students the for audiences ranging from preschoolers to this year the Amelia Trio—demonstrates the opportunity to develop the performance and senior citizens, in schools, churches, librar- skills necessary to connect with audiences communication skills necessary to become ies, and bookstores. of all ages. such advocates—and allows them to con- According to Elinor Freer, coordinator The student groups spent February prepar- tribute to building new audiences for clas- of the program, Music For All is the most ing their own presentations, and they went sical music.”

A member of the Amelia Piano Trio demonstrates the fine art of connecting with an audience of all ages. IN TRIBUTE

Richard Pearlman Richard Pearlman, who directed Eastman’s 1995, Richard Pearlman brought his operatic Opera Theatre program from 1976 to 1995, and educational expertise to the Chicago Lyric died on Saturday, April 8, in Chicago, of Opera Center for American Artists, regarded lung cancer. as one of the very best in the United States. Born in Connecticut and raised in Arizona, In fall 2002, Richard Pearlman visited Richard Pearlman attended Columbia Eastman to judge the Friends of Eastman University, majoring in English Literature, Opera Voice Competition and give a talk but, as he wrote, “[dividing] my time be- in the Arts Leadership Program series. It tween the library and the standing room of the was typically titled Why Opera is Hot: From Metropolitan Opera.” He decided his life’s goal Monteverdi to Sondheim, It’s All Just Show was to be an opera director, and started as an assistant stage manager at the American Shakespeare Festival. That led to the Dallas Opera, where he worked on Lucia Everett Gates di Lammermoor with Maria Callas, Everett Gates, Professor Emeritus directed by Franco Zeffirelli: “Any of Music Education, died on March 6 in doubts that I had chosen to pur- Rochester. sue the right profession were Professor Gates had a long and fruitful swept away forever.” association with the Eastman School. He Pearlman made his direc- graduated with a bachelor’s degree and per- torial debut in Chicago in former’s certificate in viola in 1939, and with 1962, also in Lucia, with Joan a master’s degree in 1948. During the fol- Sutherland. In 1964¬1965 he di- lowing decade, he was principal violist and rected the American premiere of assistant conductor with the Oklahoma City Berlioz’s Béatrice et Bénédict for Symphony, and a member of the faculty of Washington Opera. This led to a Oklahoma City University. three-year stint as a resident di- Everett Gates returned to his alma mater rector at the Metropolitan Opera, as Professor of Music Education in 1958, then a return to Washington as and was promoted to chair of the depart- Artistic Director (1968¬1970). ment eight years later. He earned an Alumni He followed this with a busy free- Award for Excellence in Teaching in 1968. lance period, directing every- After his retirement in 1979, Everett Gates thing from The Who’s Tommy remained in close contact with many of his (with the young Bette Midler) former students, nurturing future music ed- to the American premiere of the ucators and sharing his artistry and wisdom Weber/Mahler Die Drei Pintos, with students and colleagues. and writing new English transla- In November 2004, Gates was honored tions of standard operas. at Eastman with the Everett Gates String But he had a desire to work with talented Business, and its conclusion sums up the phi- Music Education Scholarship. At the time, young performers, and in 1976 arrived in losophy guiding his remarkable career: his former student Sandra Dackow (BM ’73, Rochester as Director of Eastman Opera “Leadership is going to involve continu- MM ’77, PhD ’87) said: “Thank you, Everett, Theatre. Richard Pearlman stayed at Eastman ally reinventing yourselves and the circum- for never accepting less than our best. As we for 19 years, calling it “in many ways the most stances of your professional lives. The arts no continue to influence and inspire our own satisfying period of my professional life.” He longer exist in some idealized world outside students, we realize that we are also offering directed many imaginative, sometimes con- the context of life on this planet … I hope them the reflection of what you taught and troversial productions, particularly of works your Eastman experience has impressed on shared with us … We honor you by carrying by Mozart, Rossini, Menotti, and Britten, and you that music can answer the mean-spirited your work and your love for all things musi- gave opportunities to such young singers as rhetoric abroad in the land today and change cal forward into the future.” Renée Fleming and Anthony Dean Griffey. In the world.”

PHOTOGRAPHS BY Gelfand-Piper Photography (FACING PAGE) AND COURTESY EASTMAN SCHOOL OF MUSIC ARCHIVE July 2006 | Eastman Notes 23 IN TRIBUTE

In memoriam 1930s 1960s

William Foote Cardon V. Burnham, Jr. (BM ’36, MM ’37), March 2005 (DMA ’61), February 2005 John T. Venettozzi Terrence Lee Greenawalt (BA ’36, MA ’46), March 2006 (MA ’62, PhD ’72), April 2006 Rudy Hazucha 1940s (BM ’65, MA ’74), April 2006 Willis Stevens Clinton Carpenter (DMA ’61), January 2006 (BA ’47), December 2005 Mary Ellison 1970s (MAS ’40), December 2005 Laura Hewitt Whipple Frederick C. Koch (BM ’40, MM ’42), November 2005 (DMA ’70), September 2005 Gardner Read Ann (Roscoe) Rothfarb The distinguished American com- 1950s (x ’74), June 2005 poser Gardner Read (BM ’36, MAS ’37) died November 10, 2005 in Manchester- Shirley Ann (Brosius) Beeson 1980s by-the-Sea, Massachusetts. Born in 1913 in (BM ’53), February 2006 Evanston, Illinois, he began writing music Guy A. Bockmon John Ryan Turnbull as a teenager, studying at Northwestern (MM ’56, PhD ’65), December 2005 (DMA ’81), May 2006 University, at Eastman, and with Pizzetti, Dan Dowdakin Sibelius, and Copland. A prolific composer, (BM ’50, MM ’53), March 2006 1990s his symphonies were championed by Sir Myron R. Falck John Barbirolli, William Steinberg, and (MM ’52, PhD, ’65), May 2006 Heidi Whitehouse Lorin Maazel, and his concertos, chamber Roger Durham Hannay (BM ’98), May 2006 music, and songs frequently performed. He (PhD ’56), January 2006 taught at Boston University from 1948 to Erval Newcomer 1978 and was a revered figure in Bostonian (MAS ’51), January 2005 musical life. In 1982, Read was given an Alumni Achievement Award by the Eastman School, and the Eastman Philharmonia, conductor David Effron, and pianist Randall Hodgkinson performed and recorded Read’s Piano Concerto, Op. 130. In 1978, musicologist Nicolas Slonimsky wrote, “the name of Gardner Read is syn- onymous with the best traditions of modern classicism and inspired romanticism”; in his Boston Globe obituary, critic Richard Dyer praised Read’s music for “a distinctive, personal voice and assured mastery of every aspect of his craft.” Besides his many compositions, Gardner Read was also the author of ➤ We know that timely reporting of alumni deaths is important to our readers. many articles and ten books, most recently At the same time, we must ensure that our reports are accurate. Therefore, we Orchestral Combinations: The Science and Art ask that friends and family send us either an obituary or a letter of confirmation of Instrumental Tone Color (2004). His wife, in notifying us of someone’s death. Please write to Eastman Notes, Office of Margaret Vail Payne Read, died in 2003; he Communications, 26 Gibbs Street, Rochester, NY 14604. is survived by their daughter, Cynthia.

24 Eastman Notes | July 2006 PHOTOGRAPH COURTESY EASTMAN SCHOOL OF MUSIC ARCHIVE ALUMNI NOTES

also appeared in Chamber Music mag- 1920s azine after his trio played Carnegie’s Send your news! Zankel Hall in December. Notes received a long article about Carrie Shaw Day (BM ’29) from Do you have an announcement you’d like to share with your The Alleghany College Choir, Ward another alumnus, Ronald Cox fellow alumni? Send your personal and professional news to Jamison, conductor, performed (BM ’48). Carrie’s approaching 100th Notes, Office of Communications, Eastman School of Music, Nunc dimittis by D. Donald Cervone birthday (which occurred in April) (BM ’55, PhD ’70) in Heinz Hall, was commemorated in the February 26 Gibbs Street, Rochester, New York 14604. Pittsburgh, PA, and at Alleghany 9, 2006 issue of the Coastal Journal College, Meadville, PA, in December of Brunswick, ME, Carrie’s home Fax: 585-274-1089 2005. These programs celebrated the town, where she plays piano and E-mail: [email protected] 75th anniversary of the Alleghany sings favorite old songs almost daily Singers, with which Cervone sang for for the residents of Sunny Brook We reserve the right to edit submissions for clarity and length. two years before entering Eastman. Village. Ron adds, “Carrie was a class- The deadline for the January issue of Notes is Nov. 27, 2006. mate of Robert Moore, my beloved In October 2005, Nicholas Di high school band and orchestra News of your upcoming events such as concerts and lectures Virgilio (BM ’58) directed the North director and trombone teacher at can be posted live on the Eastman alumni website: American premiere of a semi-staged Madison High in Rochester. In www.esm.rochester.edu/alumni production of George Enescu’s opera 1929, Mr. Moore was one of the first Oedipe with the Sinfonia da Camera trombone scholarship students of of the University of Illinois con- Emory Remington and was instru- ducted by Ian Hobson. Opera Theatre mental in my attending Eastman. As Native American Civil Rights in Alaska. benefited Encompass New Opera of St. Louis implemented Di Virgilio’s she approaches her 100th birthday, Frances’ father and brothers were Theatre, a non-profit company spe- YOPE (Youth Opera Preparation & Carrie Shaw Day’s story is inspira- Native American activists: her brother cializing in developing new music Education) project into its outreach tional to this octogenarian.” Fred wrote a book about the Alaska theater and contemporary opera. The program, Opera on the Go, which Land Settlement on 1971 and the composer of Annie, Bye Bye Birdie, played in 22 elementary schools and founding of the North Slope Borough; and many other musicals received a an Army Camp in Missouri. YOPE 1930s and her father, as she says, “brought Lifetime Achievement Award, and was was developed at the University the franchise to Alaska Natives two serenaded by Joanna Gleason, Judy of Illinois and played to 52,117 ele- Jean Cleveland (BA ’39) writes: “I years before the Great White Father in Kaye, Marc Kudisch, and some special mentary school children during Di was a piano student of Cecile Genhart Washington, DC granted citizenship to guests, including Carol Burnett. Virgilio’s tenure. Nicholas retired, and later received my master’s degree all Native Americans.” Emeritus, from the University in May in education. Presently, I live in Boca Robert W. Thayer (BM ’49) is Dean of 2004, and resides in Indian Trail, NC. Raton, FL, and am fortunate to be in Emma Lou Diemer (MM ’49, PhD the Conservatory of Music, Lawrence the vicinity of three colleges where ’60) was guest composer/performer University, Appleton, WI. Thayer, Dean Suzanne Hoffman Brown (BM ’54) music is a major part of the education. at the American Guild of Organists Emeritus of the College of Musical writes: “Retiring to the coast of I have a class of gifted piano students regional convention in Las Vegas in Arts, Bowling Green State University, Oregon ten years ago, I maintain a who are doing great things with their January 2006. In April, she was in has recently served as interim music piano studio and play horn in the music. I’ve kept my goals and enthusi- residence at Georgia State College unit executive at DePauw University Pacific Coast Wind Ensemble. A asm, and am open to new adventures and University. In 2005, Zimbel Press (2001¬2002) and the University of favorite bi-annual event is perform- in music in a changing world. Great published Celebrate the Journey: The Connecticut (2003¬2005). ing with a piano quartet (2 pianos, memories of the Eastman School!!!!!” Hymns of Emma Lou Diemer, which 8 hands) made up of members of includes four hymn texts by her late the local district of Oregon Music Helen Mills Jenks (BM ’39) has sister, Dorothy Diemer Hendry. 1950s Teachers Association. We are the only sent Notes details of a very busy and piano quartet on the Oregon coast. very musical life, including several In June 2004, we wrote about the This winter, SUNY Stony Brook Very unofficially, we call ourselves organist positions at churches in recording of the long-lost Broadway honored artist-in-residence Elaine ‘The Eight Buns’! As owner of a 14- Syracuse, NY, most recently at the musical Sherry! with music by Bonazzi (BM ’51) by establishing foot alphorn, I do demonstrations Second Church of Christ Scientist Laurence Rosenthal (BM ’47). In the Bonazzi Voice Scholarship in her and play for Oktoberfest and beer- (1984¬1996). She has been a April, Larry received the ASCAP name. Elaine also sends word of a brewing events. The sound across our member of the American Guild of Foundation’s Life in Music Award new Bridge Records CD; see “Alumni coastal mountains is akin to that of Organists and of the Central New at the 21st Annual ASCAP Film and on CD,” p. 29. Switzerland, only in a marine setting. York Association of Music Teachers Television Music Awards presentation. For a New York City native, this is a for more than 65 years. Helen, who Larry’s film credits includeA Raisin in Jazz bass legend Ron Carter unique retired lifestyle.” lives in Manlius, NY, adds that she the Sun, The Miracle Worker, and The (BM ’59) was the subject of a sub- has taught almost 1,500 piano and Island of Dr. Moreau; his TV scores have stantial profile on AllAboutJazz. Pianist Lee Dougherty-Ross (BM ’58, organ student over the years. won no less than seven Emmy Awards. com. Topics included some of Ron’s MM ’59) joined soprano Deborah less celebrated recordings (he has Berioli for a recital in Venice, FL in Another recent lifetime award-win- appeared on at least 2,500) and December 2005. Lee and her hus- 1940s ner (and Larry Rosenthal’s former his wholehearted support of young band Jerold co-founded the Artist ESM roommate) is composer Charles jazz musicians’ studying harmony Series of Sarasota in 1996, presenting Frances Paul DeGermain (BM ’46) Strouse (BM ’47), who was saluted by and composition—appropriately internationally known and emerging was recently interviewed for an some of Broadway’s best performers for a recently named Distinguished artists each season. upcoming PBS documentary about at a gala celebration on May 7, which Professor Emeritus at CCNY. Ron CONTINUED ON PAGE 26

July 2006 | Eastman Notes 25 CONTINUED FROM PAGE 25 On April 6, Katherine Hoover’s (BM ’59) second string quartet, The Knot, was given its New York premiere by the Colorado Quartet in the Cutting Edge series at Greenwich House. The Colorado Quartet then performed the work at Bard College and in Illinois. Arlene Cohen Stein (left) and Katherine’s celebrated flute solo Ingrid Hultgren Harrison Kokopeli was the subject of an analysis in the January 2006 issue of Flute Talk. Rosamond Waldron Wadsworth (MM ’56) is wrapping up ten years as Ira C. Lehn (BM ’52, MM ’53) played president of Concerts at the Point. In Avant-garde cellist Lauren Radnofsky (not in bathrobe). the cello in a performance of Howard those ten years, the series grew from Hanson’s Four Psalms for baritone three concerts to five, with the Muir and strings by the St. John’s Chamber and Borromeo Quartets alternating Orchestra in Stockton, CA. George the opening concert of each season. Showing Off Buckbee (MM ’54) conducted and Concerts at the Point also has three Warren van Bronkhorst (MM ’51, outreach programs: one bringing clas- There’s even more to the Eastman Experience than DMA ’59) was the concertmaster. sical music to nearby schools; a pre- is contained in Notes! Each month, the “Eastman concert showcase for talented high Showcase” section of our website shines a light on a Donald L. Panhorst (MM ’59, school musicians; and an internship DMA ’68) is Professor Emeritus at program in concert series manage- different Eastman student or alumnus. So far, 2006 Edinboro University (PA), retiring ment for students at the University of showcases include: in 1992 after 26 years as Director of Massachusetts, Dartmouth. Roz still Bands, Professor in and Chair of the teaches voice, and with her husband, • The University of Rochester’s Gospel Choir celebrates Music and Drama Department, Dean Dave, flies to Pennsylvania to visit three decades of praise under the direction of Rev. of Continuing Education, Associate their two offspring, granddaughter Alvin Parris III (BM ’73) Vice President for Academic Affairs, (age 5), and twin grandsons (almost 4). and Assistant Chair and Professor of • Eastman students win big at the 2006 Music Educators Speech and Communication Studies. George Walker (DMA ’56) was National Association Competition In 1995 he relocated to Gulf Breeze, honored by the Juilliard School of • Eastman student Ayden Adler digs into the early life FL, where he is an alto saxophonist Music in February 2006 with a con- of Leonard Bernstein and president of the Pensacola Civic cert called Perspectives of the Music of Band, a tour guide at the National George Walker. Concerts of his music • Sonny Kompanek (MA ‘73) Museum for Naval Aviation, and were also given by the Left Bank produces a little love music a Florida Supreme Court certified Music Society at the Kennedy Center, for Heath Ledger’s Casanova, country court mediator. In 1999 and at Benedict College (Columbia, with help from Vivaldi and he was a visiting scholar at Zibo SC), where he was a visiting profes- University, Shandong Province, China. sor. George was commissioned by Rameau Eastman’s Hanson Institute to write an • Eastman grad student Lauren John Ricca (BM ’59, MM ’64) heard orchestral work that will be premiered Radnofsky amplifies the avant the first performance of hisBuffalo by the Eastman Philharmonia during garde, performing unusual works for cello Suite on March 11, played by the Eastman Weekend, October 2006. Amherst Chamber Ensemble con- • Current ESM percussion students and alumni drum ducted by Dennis Lell. John White (MA ’54, PhD ’60) has up excitement, and Eastman voice alumni perform at two new choral publications from Carnegie Hall Trumpeter Roger Sherman (BM ’59, Imagine Music: Olympiad for SATB MM ’66) will retire from the chorus, brass quintet, piano, and per- The site is updated and archived each month, so visit Pittsburgh Symphony Orchestra as of cussion; and God’s Own Descent for www.esm.rochester.edu/experience/showcase.php. August 31, 2006. SATB chorus and organ. Olympiad And, of course, keep reading Notes! received a prize for its Vanguard Voices Arlene Cohen Stein (BM ’57, MM premiere in Dearborn, MI in June ’70) reminds her classmates and all 2005. John’s 30-minute a capella choral Drumming up excitement: Colin Tribby. ESM alumni about her book My Eye work The Canonical Hours (Medieval of the Apple, which will be featured Latin poets) was premiered in March at Eastman Weekend in October 2005 by the St. Martin’s Chamber 2006. Arlene and Ingrid Hultgren Choir of Denver under Timothy J. Harrison (BM ’56) are scheduled Kreuger, and was recorded by them. to do a musical book review during John’s Flower Songs (Shakespeare the event. Arlene hopes to hear from sonnets) and Two Blake Songs were you at S.I.M.A. Publishers, PO Box released on a 2006 Capstone CD. 25423, Tamarac, FL 33320-5423, or by telephone at 954-720-0293, to learn Nan Williams (x ’55) writes: “After a more about her book. joyous career that’s included music,

PHOTOGRAPHs BY GELFAND-PIPER PHOTOGRAPHY (LAUREN RADNOFSKY) AND COURTESY ARLENE COHEN STEIN ALUMNI NOTES

art, and theatre, I retired from teach- after 26 years as a member of the Music Making,” based on his recent May 13, 2006, I was awarded the ing art in the public schools, and con- music faculty at Northern Michigan book, at Oberlin Conservatory in degree of Honorary Doctorate of tinue in my 34th year as an adjunct University, Marquette. Last summer I February. As members of Nexus, Bill Humane Letters from the University at the University of Central Florida. I performed as vocal soloist in recitals and Bob Becker (BM ’69) performed of Southern Maine. This has been am now an intern coordinator, where in Marquette and Traverse City, MI. four concerts at the Melbourne quite a year for me, having won a we have about 1000 interns a semes- My future plans include travel and Commonwealth Games 2006 Grammy Award in February” (for his ter; Florida schools need teachers! I part-time teaching.” Festival in March. work on the Surround Sound version served on the board of the National of the Dire Straits album Brothers Art Education Association, was presi- Bill Boyes (BM ’69) and Mike John Galm (BM ’60, MM ’61) in Arms). dent of the Florida Art Education Edelman (BM ’69, MM ’77) have announces two CDs, Stories from the Association, and continue to make retired from the Canandaigua, NY, Grandparents and Stories from the Donald Johnston (DMA ’61) has presentations at conferences, write School District. Following gradua- Grandmother Tree, with music by been named President of Ars Nova curriculum, and engage in active arts tion from Eastman, Bill and Mike John and stories told by Alyne Galm, Music, Inc., a music publishing com- advocacy. I was selected as National both taught in Waterloo, NY for based on a West African Storytelling pany founded by Donald and Gloria Elementary Art Educator and Florida several years before moving to Tradition from Senegal. For more infor- Wilson (Swisher) (DMA ’60). Art Teacher, and was a finalist for the Canandaigua, where Bill was also the mation contact [email protected]. Among their current publications are National Teachers Hall of Fame. I’m department chairman. Introit, Illusions, Rituals, and Dance for grateful that my work at Eastman, Floyd Grave (BM ’66), who teaches cello and percussion ensemble, and as a university scene designer (MFA Percussionists Bill and Ruth Cahn music history, theory, and analysis Music for Violin and Piano, both by University of Iowa), and in teaching (both BM ’68) were guests of the at Rutgers University while serving John White (see “1950s”). music, theatre, art, and humanities University of Michigan School as associate editor of The Journal of has helped me provide the substan- of Music for a residency from Musicology, has co-authored a new Joan Ringerwole (MM ’67) writes, tive arts experiences that students March 28¬April 2, 2006. The book with Margaret Grave, The String “I recently retired after teaching 38 must have in today’s arts-bombarded Cahns’ residency included work- Quartets of Joseph Haydn (Oxford years at Dordt College, Sioux Center, world. That’s my passion! Best to all.” shops on “Creative Music Making” University Press, 2006). The Graves IA. I taught organ, church music, and “Introduction to West African are currently researching a book on piano, and other courses. Two of my Drumming,” and a concert with the Mozart’s concertos for wind, string, students, Laura Vander Windt (MM 1960s UM Percussion Ensemble which and keyboard instruments. ’87, DMA ’89) and Bret Dorhout included Bill’s compositions Raga (MM ’94), attended Eastman.” June Ackroyd (BM ’62, MM ’64) No. 2, Balalaika, Night Ride, and Time Bob Ludwig (BM ’66, MM ’01) writes: “In May 2005 I retired Traveler. Bill also presented “Creative writes “I’m proud to report that on CONTINUED ON PAGE 28

Presents:¥

The eastman school of music an shostakovich+ WEINBERG artistic dialogseptember 15-17, 2006 '"$6-5:.64*$*"/4 (6&45"35*454 "/%-&"%*/(4$)0-"340'3644*"/.64*$ FYQMPSF UIF ZFBS QFSTPOBM BOE BSUJTUJD SFMBUJPOTIJQ PG %NJUSJ 4IPTUBLPWJDI POF PG 3VTTJBT CFTULOPXO DPNQPTFST BOE.JFD[ZTMBX8FJOCFSH B3VTTJBODPNQPTFSTUJMMMJUUMFLOPXOJOUIF8FTU

'PSJOGPSNBUJPOBOESFHJTUSBUJPOWJTJU 888&4.30$)&45&3&%64)045",07*$) ALUMNI NOTES

CONTINUED FROM PAGE 27 Head Orchestra, and am free-lancing ski resort town of Kalavrita, where Geary Larrick (MM ’70) was rec- in Georgia and South Carolina.” classes were also held. ognized for 20 years of citations of Doris (Wilson) Sellards (BM ’61) scholarly writing in RILM Abstracts. retired as principal flutist with the Jeffrey Brillhart (MM ’79) has Stanley Friedman’s (MM ’75, DMA Geary’s recent articles include “Music Kansas City Philharmonic/Kansas City been appointed Lecturer in Organ ’76) work for wind ensemble, A Twist and Local Government,” and “Chinese Symphony in June 2005, after a 44- Improvisation at Yale University. in the Wind was commissioned by a Music with Percussion.” He also year career with the orchestra, which He has also served as Director of consortium of ten universities across wrote the chapter “Music and Work” she joined in the 1961¬1962 season. Music and Fine Arts at Bryn Mawr the United States; scenes from his in Winning, Losing, Moving On, as well Presbyterian Church since 1983. In opera Hypatia were presented in an as An Autobiographical Bibliography 1999 he assumed the title of music Opera/Memphis workshop in April of Percussion Music (Edwin Mellon director of Philadelphia’s famed 2006. Friedman is a four-time winner Press). Geary recently performed Singing City. Since his appointment, of the International Trumpet Guild special marimba recitals in honor of the choir has performed numer- Composition Competition. His music African-American History, Women’s ous concerts with the Philadelphia is available from Subito Music and History, and Jazz Appreciation. Orchestra, and toured Cuba and Editions-BIM, Switzerland. Northern Ireland. In December 2005, Colleen Liggett Christos Hatzis’ (BM ’76, MM ’77) (MM ’78) was music director, singer, Elizabeth Buccheri (DMA ’78), a String Quartet No. 1 was named and instrumentalist for Nowell: A Marie Mann and Thomas Stacy faculty member at the 2006 Aspen Classical Composition of the Year Medieval English Christmas in Music Thomas Stacy’s (BM ’60) recent Music Festival, will assist David by the Juno Awards, the Canadian and Drama. Her vocal quartet Musica Grammy nomination, for the Zinman with preparations for the equivalent of the Grammy Awards. Transatlantica sang for this, her sec- Kenneth Fuchs piece Eventide (men- new Ned Rorem opera Our Town. In Hatzis’ quartet was inspired by the ond co-creation with Rochester, NY tioned in the last issue of Notes), was August, Elizabeth begins her 20th sounds of Inuit throat singing, and by drama director Thomas M. Bohrer. the first ever for an English horn solo- season as an assistant conductor the sounds of locomotives during his Their first collaboration,Los Pastores: ist; no wonder he and his wife Marie at Lyric Opera of Chicago. She is childhood in Greece. Christos called The Shepherds’ Story, was based on Mann Stacy (BM ’60) looked so also the coordinator of collabora- the award “a celebration of Canadian Spanish Renaissance music and happy at the awards show. An April tive piano in the School of Music at music in general, regardless of who drama traditions. feature in Greenwich magazine has Northwestern University. brings the little statue home at the a picture of him playing the English end of the day.” horn solo from Act III of Tristan und In May 2006, James Burchill Isolde on the lawn of Wagner’s villa (MA ’74, PhD ’80) retired as organ- Philip Hildreth (BM ’77) was on Lake Lucerne, “to the shock of the ist and choirmaster at All Saints recently awarded the directorship of people walking around the grounds.” Cathedral, Halifax, Nova Scotia. the chorus Emeritus at the College of Tom is in his 34th season with the James has spent more than 50 years Marin in Kentfield, CA. Phil is also New York Philharmonic, and in as a church musician, 25 of them the director of music at the Unitarian March premiered What An English at All Saints, where he started as a Universalist Congregation of Marin. Horn Player Thinks, written for him by chorister. He has held many other Garrison Keillor; he also performed church appointments in Canada, in Michael Isaacson (PhD ’79) will David Owens a concerto written for him by Peteris Rochester, and in London, England. conduct and produce a recording of Vasks in Riga, Latvia. Stephen Richard’s chamber opera David Owens (BM ’72) played ten In March, Bill Di Cosimo (BM ’74) The Ballad of Ruth in June 2006 with concerts in the Boston area last sea- In our last issue Elisabeth Taylor heard the West Coast premiere of his members of the Israel Philharmonic son, as organ soloist, piano soloist, (BM ’69) had word of her free original vocal jazz charts, Pages and Orchestra. On this visit, Michael will or chamber musician, and music by monthly magazine Natural Blues for Kane, performed by the USC also record his clarinet and string composers from Buxtehude and J.S. Awakenings, published in the Boston Thornton School of Music Vocal Jazz quartet work The Shul in My Right Bach to Hindemith and Copland—as area. Elisabeth urges any Boston- Ensemble. Bill also gave a clinic with Mind with IPO first chair players. well as several of his own compo- area alumni to send announce- the jazz ensemble during his visit. The Michael Isaacson Songbook, with sitions. David is also active in the ments of musical events in the Bill is Assistant Professor of Music 100 of his compositions and two CDs Boston chapter of the American Metro Boston area to BostonEditor@ Industry and Jazz Studies at the of musical examples, is available Guild of Organists. NaturalAwakeningsMag.com. Syracuse University Setnor School of from Transcontinental Music. Music, and directs the Setnor vocal In April 2005, Ted Piltzecker Peter D. Wukovitz (BM ’68) retired jazz ensemble, Windjammer. Chip Kaufmann (BM ’77) plays his- (BM ’72) premiered the orches- from the Rochester Philharmonic toric replica bassoons with the Handel tral version of his Lul-A-Bye-Gone at Orchestra after being a cellist in Vince Di Martino (BM ’70, MM ’78) and Haydn Society of Boston, Boston SUNY Purchase, where in November the orchestra from 1966 to 2005. organized a weeklong Trumpet Baroque, and Trinity Consort of 2005 he premiered the revised ver- Mary Ann Elder Wukovitz (BM ’73, Course in Greece, from January Portland, OR, among other ensembles. sion of his Tango Rubén. In March MM ’75), his wife, has been a cellist 3¬9, 2006. More than 80 students He lives in Portland, ME, where he 2006 Ted was guest artist and clini- with RPO since 1972. from the United States, Germany, will be summer organist of First Parish cian at the University of Southern Turkey, and Greece participated. The Unitarian Church on Monument Mississippi, the University of Georgia, Chicago Symphony’s John Hagstrom Square, and a tour guide in Henry and the State Universities in Indiana, 1970s (BM ’87) was special guest for the Wadsworth Longfellow’s childhood PA and Slippery Rock, PA. In June he event. John, Vince, and ten other home. Two of Chip’s short stories will led a jazz quartet at the Fairfield (CT) An update from Peter Berquist invited faculty members taught and be published by The Salt River Review Concert Series and the Gibson’s Jazz (BM ’78): “I am finishing my fifth performed. Concerts were given and by Bound Off, a website broadcast- Festival (Vancouver, BC). season as principal bass of the Hilton in Athens, Patra, and the mountain ing short stories in MP3 format. CONTINUED ON PAGE 31

28 Eastman Notes | July 2006 PHOTOGRAPHS COURTESY THOMAS STACY AND DAVID OWENS ALUMNI NOTES

Eastman alumni on CD

Pianist Joyce Cherry Britten, Brahms, and Ravel. According to (BM ’72) accompanies Elaine, the CD “is receiving wonderful world- her daughter, violinist wide reviews and distribution.” (For more Rebecca Cherry, on news from Elaine, see Alumni Notes, p. 25) Remembrances, pro- William Picher duced by Temple (MM ’81) leads the Sholom in Vancouver, choir of the Mary, BC (available at www.TempleSholom.ca). The Queen of the CD collection includes contemplative pieces Universe Shrine by Fauré, Bloch, Sinding, Bruch, and John (Orlando, FL) in Hail, Williams—and program notes by Gordon Holy Queen (Stemik Cherry (BM ’71), husband of Joyce and father 105). The program, for which William also of Rebecca. plays the organ, includes such favorite Pianist Deborah Brown (BM ’77, MM ’79), who anthems as Mozart’s Ave Verum Corpus and until recently taught in Eastman’s Community Duruflé’s Ubi Caritas, as well as two versions Music School, has released a CD of music by of the Ave Maria by Picher and his arrange- A joyful tribute Liszt (from the Années de pélérinage), Haydn ments of How Great Thou Art, Mary’s Sylvia Marie Muehling (BM ’41, (Sonata in C, Hob. 50), and Rachmaninoff Lullaby, and Danny Boy. MAS ’43) recently released The Joy (Etudes-tableaux, Op. 39). Organist Christopher of Playing the Piano, a CD of a piano Beverley Simms Marks (DMA ’99) has recital she gave in December 1985. (MM ’78), pianist and just released The program includes pieces by professor of music at Discoveries (Raven Bach, Beethoven, Barber, Schubert, Indiana State 790), performed on Bartók, and Brahms, but perhaps University, performs the Crouse Holtkamp its most interesting track is a brief works for two pianos Organ at Syracuse piece called Serially Serious, by and percussionists on University, where Christopher is assistant Blythe Owen (PhD ’53), one of the a self-produced CD by the Cramped Spaces professor at Setnor School of Music. The first women to receive a doctorate Ensemble; also featured is fellow ISU piano varied program includes Five Pieces by in composition from Eastman. professor William Hughes (DMA ’85). The Nicolas Scherzinger (MM & DMA ’00), who program consists of music by George Crumb also teaches at Syracuse. Sylvia premiered this piece at a and Rafael Hernandez. Crumb, who paid a Music Teachers National Association Michael Fuerst memorable visit to Eastman in 2000, called conference in October 1985, and (MM ’95) is organist the CSE’s performance of his Music for A says: “I wish profoundly to pay a and harpsichordist for Summer Evening “very exciting in every deserving tribute to another alumna, the early-music group respect!” For ordering information, visit mis- Blythe Owen, whose life and works Chelycus, which he [email protected]. I wish to be known … an incredible recently founded with composer in all venues, pianist and Mezzo-soprano Elaine violinist Veronika teacher.” Owen, who lived from 1898 Bonazzi (BM ’51) has Skuplik. The group’s first CD (Organum to 2000, started her teaching career been praised as one 261036) is an adventurous one—the first in 1926 in the Chicago area, and of America’s great recordings of chamber sonatas by Andreas was still at it until her late ’90s at singers, but recorded Oswald (1634–1665), whose brief life climaxed Andrews University in Michigan. examples of her art- in an appointment as court organist at istry are rare. Bridge Weimar (before J. S. Bach). Michael describes For more information and to order Records fills the gap with The Art of Elaine these pieces, written in the late 1650s, as The Joy of Playing the Piano, visit Bonazzi (Bridge 9176), an unreleased recital “very individual and sometimes bizarre.” For www.PlayingPianoForJoy.com. recorded at the Peabody Conservatory in more information visit www.chelycus.de or 1985. Bonazzi sings music by Monteverdi, CONTINUED ON PAGE 30

July 2006 | Eastman Notes 29 ALUMNI NOTES

CONTINUED FROM PAGE 29 Guitarist Peter Raymond Egan Fletcher’s (MM ’95) (BM ’67) has just www.schallkontor.de. The ensemble’s name, latest CD is an Erik released Ancient Michael explains, “is based on Athanasius Satie collection fea- Partners, a new CD of Kircher’s statement that violins, gambas, and turing Peter’s own music for chorus a lutes of all sizes are called chelys, Greek for arrangements of the capella, with jazz/rock turtle, according to the story of Mercury great French eccen- rhythm section, and making an instrument by stringing up a tor- tric’s music. The selections include the famil- with instruments. Ancient Partners is avail- toise shell.” iar Gymnopédies and Gnossienne No. 1, the able at www.RaymondEgan.com. Joseph Holt (BM ’82) whimsical Sports et Divertissements, and Eastman alumni have makes his conducting several other truly Satie-esque pieces. read about violinist debut as associate (Centaur 2731) Kelly Hall-Tompkins conductor of the Soprano Monica and her work with Choral Arts Society of Hatch (BM ’83) is New York’s Music Washington on the joined by the Kitchen. Kelly has also Naxos CD Celebrating Cathedral of St. Paul just released a recital Sacred Rhythms (8.557542). The collection Festival Orchestra and CD consisting of Kodály’s Duo for Violin and includes three lively sacred choral works St. John’s Schola Cello (with Troy Stuart), Brahms’ Third Sonata, based on traditional tunes and rhythms of Cantorum in Bright and Ravel’s Tzigane, the last two accompa- Argentina (Ariel Ramirez’ Navidad Nuestra Seraphim, a program of arias both sacred nied by pianist Craig Ketter (BM ’91, MM ’93). and Misa Criolla) and Congo (Guido Haazen’s (Fauré’s Pie Jesu and Mozart’s Laudate Missa Luba). Joseph was also a producer of Moira Danis’s (BM ’80) Dominum) and secular (Rachmaninoff’s the CD, which was released in February 2006. new self-produced Vocalise). For more information, check release I Wish is A Sleeper’s Notebook www.monicahatch.com. “a collection of songs has just been released Andre Canniere (MM from Broadway on One Soul Records ’03) is a New York City to jazz club that tell in a performance by freelance trumpeter of wishes, hopes, its composer, Eleanor and composer—and and dreams.” Contact Moira at mdanis13@ Sandresky (MM ’84). in February released earthlink.net. The six-movement his first CD, As Of Yet suite for piano, written between 1999 and Chris Theofanidis (Omatic Records). 2003, is, in Eleanor’s words, “a cycle based on (MM ’93) recently saw Two of Andre’s compositions turn up on a kinds of sleep, both rapid eye movement and the world premiere new Origin Records release by Toby dream states.” Visit www.onesoulrecords.com; recording of his cho- Koenigsberg (also MM ’03). Visit www.andre- for more on Eleanor and her “choreographic ral work The Here and canniere.com for more. piano” music, go to www.esandresky.com. Now (Telarc 60638), Melanie Mitrano’s with Robert Spano Guitarist Anton (BM ’90) new release and the Atlanta Symphony. Chris’ work is Machleder (DMA ’01) Songs in Transit: An coupled with David Del Tredici’s Paul offers an unusual pro- American Expedition Revere’s Ride and the “Lamentation” from gram of works by (Capstone 8756) Leonard Bernstein’s Jeremiah Symphony. 20th-century Cuban includes songs by composers on his CD Tom Cipullo, Lori Guitarra de Cristal: ➤ Do you have music or performances on Laitman, Lee Hoiby, and Pulitzer Prizewinners pieces by Léo Brouwer, Harold Gramatges, a recent or forthcoming CD? Notes wants Paul Moravec and David Del Tredici, each of Joaquin Nin-Culmell, Julián Orbón, and to know! Send promo copies to Eastman whom accompanies her at the piano. Judith Aurelio de la Vega, written between 1943 and Notes, Office of Communications, Eastman Munro de Wette joins Melanie in songs by 1992. “To listen to their music,” says Anton, School of Music, 26 Gibbs Street, Rochester, Beth Anderson, Gene Pritzker, and Allan “is to journey through the Cuban musical NY 14604; or just alert us that it is available. Jaffe, as well as Melanie’s own Two landscape and the diversity of Cuban musical Infatuations and a Phobia. traditions.” Guitarra de Cristal is available at www.redcreekstudios.com.

30 Eastman Notes | July 2006 ALUMNI NOTES

CONTINUED FROM PAGE 28 directs choirs at Phillips Theological Ralph Reddick’s (MM ’79) Song Seminary and Temple Israel in Tulsa, Cycle for Solo Contrabass was per- and is Minister of Music at Memorial formed in recital at Michigan State Drive United Methodist Church. University in April 2006. Ralph’s most recent piece, Undaunted for Monica Hatch Moysey (BM ’83) high school symphony band, was was soprano soloist in a June per- performed this spring at Southfield formance of Mozart’s Requiem with Christian School, where his youngest the Cathedral of St. Paul Festival daughter is a student. Orchestra conducted by Ian Watson. Monica is a jazz radio host on NPR Eden Vaning-Rosen (MM ’72) was station WICN 90.5 FM (www.wicn. named Florida’s Studio Teacher of the org) in Worcester, MA, and encour- Year by the American String Teachers’ ages jazz colleagues to send their Association. Eden presented a lec- CDs to the station for airplay. (See ture on “Expressive Vibrato, Window “Alumni on CD,” p. 30.) to the Soul” at the ASTA National Convention in Kansas City in Roger Nye (BM ’86) writes, “I am Kurt Coble and his robotic music sculpture, the P.A.M. Band. February, and in May performed at a enjoying my new job as second benefit concert in the San Francisco the Opera, which became the lon- Sydney Friedman (BM ’80) divides bassoon with the New York Bay area. She also released the 20th gest-running musical in Broadway his time between mentalism and Philharmonic immensely, and book in her Violin Series: No. 6a, The history on January 9. Also in January, music. As a mentalist, he’s written a especially playing with Eastman Tension-Free Bow Hand. he was heard on the PBS series The couple of bestselling books, appeared alum Judy Leclair (BM ’79), the War that Made America, seen on Live on The View and CBS Morning News, principal bassoonist. My wife, with Regis and Kelly with Enya, and and done hundreds of live ESP and Caroline Park (MM ’85), has been 1980s his arrangement of Miklos Rósza’s telepathy shows around the world. playing principal oboe and English Spellbound Concerto (recorded live by As a composer, Sydney has written horn with the Princeton Symphony Todd Beaney (MM ’85) released a the Philadelphia Virtuosi Chamber scores for commercials, several PBS since we moved to New Jersey in solo piano CD of new arrangements Orchestra, with Kurt playing the and A&E series, as well as 18 pieces September 2005. She also continues of hymns and worship songs. His Theremin) was broadcast on NPR’s of liturgical music commissioned by to serve as the oboist with the Lake arrangements will be published by Performance Today. Kurt played violin Temple Hakafah in Winnetka, IL. Placid Sinfonietta in the summer, Lorenz this summer. A teacher at on the new Barbra Streisand record- along with K. David Van Hoesen, Rye High School and Middle School, ing Guilty Pleasures, while at the In January, Jonas Gray (BM ’88) longtime ESM bassoon instructor, Todd’s work with music technology opposite end of the spectrum, his joined EMAK Worldwide, Inc., as and Anne Harrow, current ESM was featured in the January Sibelius avant-garde robotic music kinetic Vice President, Worldwide Business flute instructor.” Newsletter. sculpture invention The P.A.M. Development. EMAK, based in Los Band was installed and performed Angeles, is a leading marketing ser- Gary Press (BM ’88) freelances and Karen Becker (BM ’87) continued at the Lab Gallery in Manhattan. On vices firm whose clients include teaches in New York City, and played in her first year as Assistant Professor April 21 and 22, the University of Burger King, Kellogg’s, and Procter principal tuba with the Key West of Piano at SUNY Plattsburgh. Bridgeport (CT)’s Robotic Music Lab & Gamble. Symphony in January and February Highlights included serving as music presented Fritz Lang’s 1927 silent 2006. He was a soloist in a benefit director for the campus-wide pro- masterpiece Metropolis, with Kurt’s Ivan Griffin (MM ’86) toured recital to raise money for victims of duction of Urinetown; giving three new musical score performed by the South Africa in the summer of 2005 the Philippine mudslides. He joins combination solo and collaborative P.A.M. Band (that means Partially as featured soloist with the Willis the faculty of the Hartwick College recitals in her series Karen Becker Artificial Musicians, by the way). Patterson Our Own Thing Chorale Summer Music Festival in July, and and Friends; playing as featured solo- of Ann Arbor, MI. In June 2006, was named chair of the wind and ist with the Faculty Jazz Quintet; The 2006¬2007 Aaron Copland Ivan was featured in the Lansing, brass department of the Children’s and presenting an 0-8-hands piano Awards, given in March to seven MI, Boars Head Theatre produc- Orchestra Society in Manhasset, NY. program with music by Eastman younger American compos- tion of The All Night Strut!, a revue He’ll perform the Tuba Concerto by composers David Liptak, Sydney ers, included two ESM graduates: of music of the 1930s and 1940s, Robert Spillman (BM ’57, MM ’59) Hodkinson, and Sam Adler. David Crumb (BM ’85) and Robert and in July he reprises the role of with the Society’s Young Symphonic Paterson (BM ’95). The award Papageno at the University of North Ensemble in 2007. John Cipolla (BM ’84) sends word of includes a four-to eight-week “work- Carolina, Fayetteville. a recent jazz clarinet/piano duo CD ing vacation” at the Copland House Andrew Richards (BM ’87) sends he recorded with “Doc” Livingston, in Ossining, NY. David Moore (PhD ’86) and his wife “Greetings from Berlin, Germany! My “an 80-year-old Kentucky jazz-piano Susan Goldman Moore (BA ’71) appointment at Deutsches Staatsoper legend” according to John. It is avail- Amy Duxbury (BM ’80) played continue to work together at the Berlin is going very well. So far able at cdbaby.com. John also per- the challenging dual roles of solo University of Tulsa School of Music, this year I have sung well-received formed clarinet recitals in 2005 at bassoonist and “Elvis” in Michael where David teaches theory and performances of Tosca, Butterfly, Middle Tennessee State University, Daugherty’s Dead Elvis with the Susan teaches voice and music edu- Carmen, Bohème, and Macbeth. I the University of South Carolina, and Master Sinfonia Chamber Orchestra cation. On April 6, David and Susan recently had the great opportunity the University of North Carolina. in Los Altos, CA, last January. Amy gave a lecture recital of music for to do my ‘tenorial bar mitzvah.’ After is principal bassoon in the orchestra, clarinet and piano as part of the another’s cancellation, I learned Kurt Coble (BM ’84) is assistant which performs throughout the San School of Music’s Concerts With Andrea Chenier for a concert version concertmaster for The Phantom of Francisco Peninsula. Commentary series. David also CONTINUED ON PAGE 32

PHOTOGRAPH COURTESY KURT COBLE July 2006 | Eastman Notes 31 I]Z:VhibVcHX]ddad[Bjh^XVcYLZhiÄZaYegZhZci :GD>;:HI>K6A'%%+D8ID7:G&'·&*

CONTINUED FROM PAGE 31 students. “It was great to finally of this opera with the Amsterdam make it back to Eastman after 20 Concertgebouw. It was broadcast/ years,” Steve writes. “I am currently webcast to a most appreciative audi- a bassist in the Dayton Philharmonic 6heZXihd[ ence. It was amazing to be singing and Dayton Philharmonic Trio, and in the Netherlands and have my par- am instructor of double bass at ents listening LIVE in Arizona. I had Miami University in Oxford, OH.” 6bZg^XVc the great pleasure of performing the Verdi Requiem with Maestro Graff and the Houston Symphony. It was 1990s very cool to find ESM alumni in this Dg\Vc7j^aY^c\ estimable organization. Long live Paul T. Barte (DMA ’95) is Associate the ESM trombones!!! I’m excited Professor of Organ and Music History ^ci]Z about a new production of Don Carlos at the Ohio University School of in Strasbourg, Tosca at the Puccini Music. He was awarded the School’s Festival in Italy, and a new produc- Distinguished Teaching Award tion of Werther in Brussels.” for 2005. '%i]8Zcijgn (www.tenorrichards.com) Laura Bossert (BM ’90, MM ’92) ;ZVijg^c\i]Zldg`d[ Evan Rothstein (BM ’82) was writes: “Within the last two years, named to a permanent position my violin and viola students as instructor of musicology at the have won positions in the Boston :#B#H`^ccZgVcY?d]c7gdbWVj\] University of Paris 8—Saint Denis Symphony, Royal Philharmonic, BBC in fall 2005. As part of the European Radio Orchestra, Mikkeli Finnish teachers’ exchange program Socrates, Chamber Orchestra, Handel and

GI\fi^\KXpcfi#Xe[Dle\kXbXPfbfkX process at a colloquy on Ives’ Concord Quartets.” Sonata at the École normale supéri- eure, and in December he delivered Joseph Byrd (MM ’96) is founder a paper on the work of Georges and artistic director of the new Aperghis at an international confer- Upper Room Theatre, a black box ence on 20th-century opera at the studio theatre in West Michigan. The Institut National d’Histoire de l’Art Theatre, which recently concluded a in Paris. sold-out run of Gilbert and Sullivan’s Patience, also doubles as a recording When the Metropolitan Opera’s studio. In March, Joseph took novi- newly appointed general manager tiate vows in the order of Ecumenical Peter Gelb announced his plans for a Franciscans, and is pursuing certifi- collaborative program with Lincoln cation as a Spiritual Director through Center for new musical theater proj- the Dominican Center in Grand ects, his list of composers included Rapids, MI. Michael Torke (BM ’84). Michael was in interesting company, includ- James Day (MM ’96, DMA ’05) is ing Tony Award-winning composer Director of Guitar Studies at The Adam Guettel, jazz musician Wynton College of New Jersey. From April to Marsalis, and pop singer-songwriter July 2005, he was Guest Professor at Rufus Wainwright. The new operas the Goethe-Universität, Frankfurt, will be workshopped and possibly as part of an international exchange performed at the Met or the Vivian program between Frankfurt and Beaumont Theatre. Michael’s lat- TCNJ. James led guitar lessons and est orchestral work, Heartland, was chamber ensembles, taught “Music premiered by David Alan Miller and in Modern American Society,” and the Albany Symphony Orchestra on lectured on topics from pedagogy to May 20. performance. He also gave lecture- recitals on the early 19th-century On April 8, 2006, Steve Ullery Gitarrenlied in Frankfurt, Stuttgart, (BM ’86) presented a master class at and Madrid. In the fall, James pre- Eastman for six of J.B. VanDemark’s CONTINUED ON PAGE 34

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EROI Festival Ad.indd 1 7/23/06 2:58:39 PM ALUMNI NOTES

According to Gene, An American Tragedy’s Act II church scene was inspired by memories of singing in old, imposing Rochester churches, “the kind where you owned your own pew.” Below: Patricia Racette and Nathan Gunn played the opera’s ill-fated lovers. “Moments that demand to be sung”

As an Eastman voice student, Gene Scheer But after a few years performing in German (BM ’81, MM ’82) probably dreamed of mak- versions of shows like Fiddler on the Roof ing it to the stage of the Metropolitan opera. and Jesus Christ Superstar, “I came to the Scheer did indeed recently make conclusion that my voice was it to the Met, not as a singer, not good enough for singing but as a writer: he is the libret- opera—it was just not satisfying tist of Tobias Picker’s opera An for me.” American Tragedy, premiered on What did satisfy him was writing December 2, 2005. the words and music for songs After getting a degree in English (in which DeGaetani also encour- at Hamilton College, Gene aged him during his stay in arrived at Eastman to study Rochester). Happily, some excel- Gene Scheer voice with Jan DeGaetani, whom lent singers also found it satis- he describes as “a great mentor and artistic fying to sing them. Baritone Nathan Gunn influence.” Playing operatic roles at Eastman, recorded several of Gene’s songs; mezzo winning a summer fellowship at the Aspen Denyce Graves sang his “American Anthem” Festival, and studying in Cologne and Vienna at the White House and “Christmas Once after graduation, he seemed destined for an More” on a PBS special; Jennifer Larmore, operatic career. CONTINUED ON PAGE 34

PHOTOGRAPHs BY Ken Howard/Metropolitan Opera July 2006 | Eastman Notes 33 CONTINUED FROM PAGE 32 miered a new work by Laurie Altman at Westminster Choir College, recorded James Lentini’s Westward Voyage (winner of the 2002 Segovia Competition), and performed in Crossing Over, a new-music series at the CCNY Graduate Center. This spring, he completed the CD Night and Dreams: Schubert Lieder with Guitar, with tenor and Eastman professor Robert Swensen, and submit- ted “Between the Serious and the Playable: The Guitar and the Early Gene’s libretto brought the “passion, ambition, and tragedy” of Dreiser’s characters to Nineteenth-Century Lied” to the operatic life. Journal of Musicological Research. Visit James at www.tcnj.edu/~day.

CONTINUED FROM PAGE 33 and conducted by James Conlon. “A librettist James Douthit (DMA ’92) is now Stephanie Blythe, and former classmate has nothing to do with casting,” Gene admits, the Department Chair and Associate Renée Fleming sang other Scheer songs. but as it turned out, An American Tragedy Professor of Music at Nazareth Col- included his old friends Nathan Gunn and lege in Rochester, NY. In November A meeting with the director Francesca 2005, James was awarded the Distin- Jennifer Larmore—along with Patricia Zembello led to Gene’s introduction to Tobias guished Service Award by the Penn- Racette, Delora Zajick, and Susan Graham. sylvania Music Teachers Association Picker. His first opera, Emmaline (1996), was a (Soprano Jennifer Aylmer, BM ’94, played a on the completion of his two-year great success, and he needed a librettist for supporting role.) term as president of the organization. Thérèse Raquin, an adaptation of Émile Zola’s novel for the Houston Grand Opera. “With Since the Met seldom produces new operas, Composer Cenk Ergün (BM ’99) was nominated for the Gaudeamus Tobias, you had to be on your mettle. I really An American Tragedy was under intense Prize for his electronic music had to prove myself,” says Gene. He wrote scrutiny by the press. “I’m pretty good at video icin uclu acilis (trio for video part of Thérèse Raquin on spec (without a ignoring it all and concentrating on the work,” open). The work is one of 20 com- contract), and got the job. The opera was suc- says Gene. “You really don’t know anything positions that will be performed during International Gaudeamus cessful in Houston, and a revised version has about an opera until you see how it works in Music Week in Amsterdam, from been seen in Montreal, San Diego, and London. front of an audience.” Reviews were mixed, September 3¬10, 2006. but An American Tragedy’s opening-night After his songwriting success, Gene found audience gave the new opera an ovation. Catherine (Watkins) Estes he had a natural feeling for the bigger canvas (MM ’93) recently joined the oboe of opera. He has described the librettist’s “Most reviews tend to give you the idea that section of the Buffalo Philharmonic responsibility to “create moments that a piece is a work of genius or a piece of crap,” Orchestra. She had previously held a one-year position with the Louisiana demand to be sung … to distill the story to says Gene. “What I thought we ended up Philharmonic Orchestra, and, upon its essential elements and to … get the audi- with was a solid opera that was neither. I do graduation from Eastman, spent four ence to care deeply about the fates of the love the piece, Act II particularly—which I seasons as principal oboist of the characters onstage.” think really drives to the end.” Billings (MT) Symphony.

Picker and Scheer’s next project was a high- Gene has kept busy since An American A new concerto premiered this May in Toronto has Eastman connec- profile Met commission for an operatic Tragedy, writing words for new works by tions! The Esprit Orchestra’s New version of Theodore Dreiser’s An American three notable composers: Wynton Marsalis Wave Composers Festival included Tragedy. With its 900 pages of dense prose (Congo Square); Stephen Paulus (The Star the first performance of a saxo- and social philosophizing, this novel—based Gatherer, a children’s opera); and Jake Heggie phones concerto (note the plural) by Scott Good (BM ’95), performed by on the turn-of-the-century story of a young (Statuesque, a song cycle recently premiered current Eastman student Wallace man’s trial and execution for murdering his by mezzo Joyce Castle, MM ’66). Halladay. pregnant fiancée—might not seem an oper- He has fond memories of Eastman: “The atic “natural,” but Gene found it “a compel- Jason Guerra (BM ’99) is currently faculty and the students were all smart, touring Europe and Asia in West Side ling story of passion, ambition, and tragedy … accomplished people. The place set a golden Story, a Sundance Production. that cries out for operatic treatment.” standard for me.” Margaret Jackson (MM ’97) writes: An American Tragedy was beautifully pro- “Since completing my DM in Voice duced by the Met, directed by Zambello, at Florida State University in 2003,

PHOTOGRAPH BY KEN HOWARD/ 34 Eastman Notes | July 2006 METROPOLITAN OPERA Conductors from six decades salute Frederick Fennell

Sandra Dackow (BM ’73, MM ’77, PhD ’87) sent Notes this photo of Eastman alumni from six decades, all of whom attended this year’s conference of the Conductors Guild.

Sandra writes: “The Guild, an international organization drawing members from 31 countries, dedicated a retrospective to the cal tribute to Fennell, including his Palestra Sandra also identified all the alumni in this life and work of Frederick Fennell (BM ’37, March, a youthful work named after the UR photo: from left to right, they are Michael MM ’39, HNR ’88) at its Annual Conference Field House and published by Carl Fischer in Votta, Toru Miura, Donald Hunsberger, Sandra held in New York City in January. Fennell was 1937. A panel chaired by Donald Hunsberger Dackow, J. Craig Davis (BM ’87, MM ’88), Anna honored with the Guild’s Theodore Thomas (BM ’54, MM ’59, DMA ’63) discussed Fennell’s Reguero (BM ’05), James Allen Anderson, Award in 1994, and was active in the Guild as unique contributions to the profession. UNC Paul Oster (BM ’66, MM ’68), Fedor Kabalin a mentor and master teacher. The University students collaborating with John Beck (BM (PhD ’65), John Beck, Emily Freeman Brown of North Carolina Wind Ensemble, directed ’55, MM ’62) demonstrated rudimental drum- Adler (DMA ’89 and Past President of the by Michael Votta, Jr. (DMA ’86), gave a musi- ming, an activity associated with Fennell.” Guild), and Tom Slattery (BM ’58).

I’ve also been at work on a PhD in Minor and Requiem, solo and lecture her recent performances and record- Ethnomusicology. During 2005, I recitals, and many guest appearances. ing of Morton Feldman’s Triadic served as a DAAD scholar to the Memories, and many other aspects University of Cologne, studying Highlights of the year for busy bari- of her dedication to contemporary youth musical creation in the Turkish tone Thomas Meglioranza music, in an interview with George immigrant communities of the Rhine (MM ’95) included performing on Hunka (www.ghunka.com/nonken). region, and was named a 2006¬2007 March 27 in Twin Spirits: The Words American Fellow by the American and Music of Robert and Clara Schu Bob Padgett (BM ’94) sends word Association of University Women, mann, with such talents as violinist of his live CD concert on May 12 a grant that will fund my disserta- Joshua Bell, soprano Barbara Bonney, in Stony Brook, LI, and invites fel- tion writing for one calendar year. and Sting and his wife Trudie Styler. low Eastman alums to visit his new I received the FSU 2006 Research The performance was a benefit for online home, www.bobpadgett.com. and Creativity Award, recogniz- Broadway Cares/Equity Fights AIDS ing my work as a musicologist and and Classical Action: Performing Robert (BM ’85) and Victoria a vocalist, and the 2005 Dale Olsen Arts Against AIDS. Earlier in March, (BM ’93) Paterson happily announce Award for student research from the Tom and pianist Thomas Sauer per- the birth of Dylan George Paterson, Southeastern and Caribbean chapter formed in cabaret at New York’s Café born January 26 (see www.dylan- of the Society for Ethnomusicology. I Sabarsky in Schönberg and His Pupils: paterson.com for photos). More Arnold al fresco: a postcard am on the voice faculty of Troy songs by Schönberg, Eisler, Blitzs- good news from Rob: he recently promoting Thomas Meglioranza’s (AL) University.” tein, Cage—and William Bolcom; won the 2005 Louisville Orchestra cabaret concert. and on February 9 Tom sang a pro- Composition Contest, resulting in See-yin (Oliver) Lo (MM ’96, gram of songs by living American with Miami Lyric Opera in the premiere of his Electric Lines at DMA ’00) is currently on leave from composers (including Eastman’s September. She also happily reports the ISU 39th Annual Contemporary East Tennessee State University, and David Liptak) at New York’s Sym- her recent engagement to tenor Music Festival, and he’s a resident at is a Visiting Scholar at the Hong phony Space. For more on Tom, visit Daniel Rodriguez (formerly known the Copland House during summer Kong University of Science and www.meglioranza.com. as “The Singing Policeman”). 2006. Jeffrey Renshaw (MM ’77, Technology. A native of Hong Kong, DMA ’90) conducted the premiere he enjoys his “homecoming” and Maryann Mootos (BM ’90) con- On April 30, pianist Marilyn of Rob’s Crimson Earth for symphonic reunion with his families. His profes- tinues to pursue her singing career, Nonken (BM ’92) appeared with band on April 20. sional engagements this year in Hong and performed the role of Nedda the Oberlin Contemporary Music Kong include singing the Emperor (Pagliacci) with Chelsea Opera in Ensemble in the world premiere of David Pope (MM ’97) has been (Turandot) and Remendado (Carmen), New York City in June. She is also Trespass, a concerto written for her granted tenure at James Madison tenor soloist in Mozart’s Mass in C scheduled to sing Mimi (La Bohème) by Jason Eckardt. Marilyn discussed CONTINUED ON PAGE 36

PHOTOGRAPH COURTESY SANDRA DACKOW July 2006 | Eastman Notes 35 CONTINUED FROM PAGE 35 Switzerland. One of the few stu- University and promoted to Associate dents to complete a Diplome with Professor of Saxophone. Roger Bobo at the Conservatoire de Lausanne, he has played under ProlificKevin Puts (BM ’94, Zubin Mehta with the UBS Verbier DMA ’99) heard the premiere of his Youth Orchestra, for the Jeunesses Sinfonia Concertante on April 20 at a Musicales World Youth Orchestra, morning concert of the Minnesota and in the Lausanne and Basel sin- Orchestra. St. Paul Pioneer Press foniettas. Tim regularly plays on reviewer Rob Hubbard praised the Swiss Radio’s Kiosque à Musique, and composer’s “harmonic sense rooted in many of the brass bands in the in the traditional and an affection for region, and teaches low brass at the engaging melodies ... all five instru- École de Musique de Bavois. He has ments—violin, cello, flute, oboe, and also played bass and contrabass trom- Edgy and virtuosic Alarm Will Sound brought Zappa bassoon—were able to show off their bone at the Bantry House, County to Zankel in February, and dazzled New York. sweet and salty sides.” Kevin is one Cork, Ireland, with bass trombonist of nine composers selected by Meet Alan Rath and Eastman’s own Dan the Composer for its Magnum Opus Patrylak (BM ’54, MM ’60). Tim project, which ensures performances also teaches English as a Foreign An alarming, of each new work by a consortium Language, “for the simple fact that of the Marin, Oakland East Bay, and more Swiss would rather learn but triumphant, year Santa Rosa (CA) Symphonies. English than the tuba.” Violinist Marissa Regni (BM ’90, Christopher Theofanidis (MM ’92) 2006 has been a great year for Alarm Will Sound—and MM ’92) was one of several National is the Pittsburgh Symphony’s resi- 2006 is only half over! The new-music chamber ensem- Symphony Orchestra musicians tak- dent composer for 2006¬2007; his ble of mostly Eastman alumni, which grew out of the ing part in a “Tunes ’n’ Tales” Teddy current projects include a violin Bear Concert for small children, who concerto for Sarah Chang and a members’ experiences with Ossia during their time at were invited to bring their favor- cello concerto for Nina Kotuba (see the School, made its Carnegie Hall debut on February 16 ite stuffed toys and have them clap “Alumni on CD,” p. 30). (in Carnegie’s Zankel Hall), to a rave review from The New along to the music. Unlike part of the York Times, which called Alarm Will Sound “as close to audience, this concert was, according In May, David Thurmeier (MA ’98) to the Washington Post, “unstuffy.” graduated from Indiana University being a rock band as a chamber orchestra can be.” Those with a PhD in Music Theory. He is are definitely words of praise to this freewheeling group, Mitchell Robinson (PhD ’99) now an Assistant Professor of Music whose Zankel Hall program—of Frank Zappa, Edgard writes, “I recently received tenure Theory at Central Missouri State Varèse, John Cage, Wolfgang Rihm, and John Adams, and promotion to Associate Professor University in Warrensburg. of Music Education at Michigan among others—was a boundary-breaking modern-music State University. I also had a chapter Toronto-based Jeff Vidov (BM thesaurus. The enthusiastic audience included many accepted for publication in a new ’93) is completely recording, mixing, other Eastmanites, as the concert was preceded by a Get book on urban music education, to and mastering his own material the Eastman Edge event for NYC-area alumni. be published this month by MENC.” at his home studio. Composer of 16 movie and TV scores, Jeff is A few more recent highlights for Alarm Will Sound: On June 7, 2005, Erica Zumsteg working on a feature film and three Sipes (BM ’96, MM ’98) and her short films—simultaneously. His • A triumphant all-John Adams concert in San Francisco husband, Tadd, welcomed their first 2-CD rock/pop/progressive album is on March 5, with particular praise for conductor child, Emma Katherine Sipes, into due in September 2006, and a rock their lives. Erica is an active col- opera/concept album in early 2007. Alan Pierson (DMA ’06), clarinetist Bill Kalinkos laborator and chamber musician “Any alumni who live near Toronto (BM ’03), violinist Caleb Burhans (BM ’03), and pianist in Northern Idaho and has also should e-mail [email protected], John Orfe (BM ’99) picked up the cello again, serving as as I sometimes need players to • Excellent reviews for the recent CD Acoustica a member of the Idaho-Washington record my film scores and rock Symphony and as the cellist in a new songs—and I would prefer (Canteloupe), AWS’s exploration of music by Richard chamber music ensemble. ESM alumni!” D. James, AKA Aphex Twin • On May 25, the group won an ASCAP Concert Music Timothy Webster Sparks (MM ’91) Baritone Nathaniel Webster Award, “for the virtuosity, passion, and commitment sends word that he and his wife Amy (BM ’97) was the soloist in a per- Elizabeth welcomed their second son, formance of Ned Rorem’s Aftermath, with which they perform and champion the music of Dylan Webster, on January 23, 2006. the composer’s response to the the 21st century” Older brother Jason Thomas, age 2, September 11 attacks, in New York’s • And a website (www.alarmwillsound.com) offering such enjoys playing with and taking care Chamber Music at the Y series on AWS swag as coffee mugs, trucker hats, and thongs of baby Dylan. April 4 and 5. Nate was joined by pianist Joseph Kalichstein, violin- with the AWS logo. If that doesn’t signal an inexorable Tim Sullivan (BM ’98) lives ist Jaime Laredo, and cellist Sharon march to world domination, we don’t know what does. and works in the French part of Robinson; the New York Times said he

36 Eastman Notes | July 2006 PHOTOGRAPH BY Kurt Brownell ALUMNI NOTES

“projected the songs with power, clar- Director of Choral Music, General Duke University, a piano trio recital Music Festival, sharing a concert ity, and warmth of tone.” Music, and Drama at the Somerville with Rebecca Troxler and Fred Raimi with David Zinman. (NJ) Middle School, and Director of at Elon University, and a faculty Abram Wilson (MM ’97) won First Children’s Music at the Presbyterian recital on April 23. Besides Maria on Violinist Eun Sang Park (BM ’00) Place in the Jazz category in the Church of Chatham (NJ) Township. continuo and solo harpsichord, the joined the Detroit Symphony 2005 International Songwriting baroque chamber concert featured Orchestra in March. Prior to joining Competition, for his composition Erik Cole (MM ’03) is the new renowned viola da gambist Brent Detroit, he was a member of the Fort Monk. Abram, of Middlesex, England, Second Clarinet in the Brevard Wissick, Rebecca Troxler on traverse, Worth Symphony. is one of 50 winners among 15,000 Symphony Orchestra, Melbourne, and Gesa Kordes on baroque violin; entries from 82 countries. Abram is FL and in the new Florida Lakes Maria’s rendition of Rameau harp- Elizabeth Porter (BM ’02) was writing a piece for Birmingham Jazz Symphony Orchestra. Erik also has sichord pieces from this program appointed third horn/associate and the Cheltenham International almost 40 private students. “I can’t was broadcast on WDAV radio. In principal of the Lübeck (Germany) Jazz Festival called RIDE! Ferris believe I’ve finally won an orches- the Carolina Baroque Ensemble’s Philharmonic Orchestra. She also Wheel to the Modern Day Delta, com- tra position—even with a very small 2006¬2007 series, Maria will per- plays in the Ensemble Modern bining Delta blues, jazz, and hip-hop. orchestra—and I can’t thank my time form an early Mozart concerto to (Frankfurt). and training at Eastman enough.” commemorate Mozart’s 250th year. Jessica Powell (BM ’03) is a grant 2000s Carol Frierson-Campbell (PhD ’00) Gina Guhl (BM ’05) joined the writer for the Orpheus Chamber recently edited Teaching Music in United States Marine Band in Orchestra. She is living in New York Julie Barnes (BM ’05) won the the Urban Classroom, a book focus- December 2005 as a clarinetist. and pursuing a DMA, while free- Principal Harp post in the Chicago ing on the challenges faced by urban Besides playing with the Band, Staff lancing as a bassist with a number Civic Orchestra for the 2006¬07 music educators from such diverse Sgt. Guhl performs with the Marine of groups. and 2007¬08 seasons. Julie locations as Green Bay, WI, and New Chamber Orchestra and Marine started her masters’ degree at the York City. The authors ranging from Chamber Ensembles at the White Violist Wei Wei Tan (BM ’03) com- Chicago College of Performing Arts, classroom music teachers to inner House, in Washington, DC, and in pleted her Postgraduate Diploma Roosevelt University, studying with city arts administrators to academics the band’s annual U.S. concert tour. at the Royal Academy of Music in Sarah Bullen. and policy-makers across the United July 2005. She is currently playing States and Canada. “Our authors rep- On May 14, organist Christian Lane with Southbank Sinfonia, a chamber Jessica Bonatakis-Mattingly resent lots of different voices, and (BM ’04) performed an unusual orchestra in London, as rotating prin- (BM ’01) received her MS/EdS in the book will allow us to let those recital at New York’s St. Thomas cipal. She is marrying Dr. Isaac Phang Counseling and Human Systems, voices reach a wider audience … a Church featuring Sacred Sounds in Singapore on August 12, 2006. Mental Health and School chance to bring all of our voices by jazz pianist George Shearing Counseling specialties in April together so we can find resources and the premiere of The Place of Kate White (MM ’05) is the new 2006. “I work as a counselor at a and find solutions,” says Carol. Understanding by Nico Muhly, a com- Outreach Coordinator of the juvenile detention center and hope poser who has worked with Philip Thurnauer School of Music, part of to obtain employment at an inpa- Rebecca Geiger (BM ’02) married Glass and Björk. Tenor soloist in the Jewish Community Center on the tient behavioral health center. I have Kevin Hamlen on July 1, 2006. The the Muhly work was Oliver Brewer Palisades, Tenafly, NJ. The Thurnauer been accepted to the PsyD Clinical couple moved to Dallas, TX, where (MM ’00). This was Christian’s final School has 450 students and serves Psychology program at the Adler Kevin is Assistant Professor of recital at St. Thomas before begin- over 4,000 individuals annually, and School of Professional Psychology in Computer Science at the University ning his graduate degree at Yale. won an award for “excellence and Chicago, where I will enroll in fall of Texas at Dallas. Rebecca taught high standards” from the Chamber 2007. My areas of interest include: and freelanced in Ithaca, NY for the Stephen Mattingly (BM ’00, Music Society of Lincoln Center. children of parents with mental ill- last four years, earning an MM from MM ’01) is Adjunct Professor of ness, prevention of anxiety disorders, Ithaca College in 2004. She plans to Guitar at Bainbridge College (GA) Marguerite Lynn Williams (BM ’01) the relationship between trauma and continue teaching and performing and Chipola College (FL). Last was awarded the Principal Harp female juvenile delinquency, and the in Dallas. spring he was awarded a grant from position with the Colorado Music mental health of performing artists.” the Theodore Presser Foundation to Festival in Boulder, CO. Eric Goldman (BM ’02) was named record Schubert’s complete chamber Julia (BM, BA ’01) and Michael Development Assistant for the music with guitar. The CD, planned Katrina Zook (DMA ’00) is now Callahan (BM ’02) were mar- National Trustees and Institutional for release in fall 2006, includes Associate Professor at the University ried November 12, 2005. “Many of Giving of the National Symphony enhanced features such as 71 pages of Wyoming. In April 2005, she and our friends from Eastman helped Orchestra, Kennedy Center, Wash- of interactive program notes. former classmate/collaborator Tracy us celebrate,” writes Julia; “Chris ington, DC. Eric works with the Cowden (DMA ’00) gave a lecture- Streeter (BM ’02) was the best man; National Trustees—prominent busi- Sean Newhouse (BA ’03) was one recital for the MTNA Convention Steven (Red) Wierenga (BM ’01) ness and philanthropic leaders from of eight conductors chosen by Kurt in Seattle on Dominick Argento’s was a groomsman (and played the throughout the country—as well as Masur to lead the Manhattan School (PhD ’58) song cycle From the Diary accordion as he escorted us into the with major corporate and founda- of Music Orchestra in the culminat- of Virginia Woolf. Argento was happy reception!); Steve Smith (BM ’02, tion donors. ing concert of the weeklong Kurt to learn of the performance and MM ’04) played classical guitar Masur Conducting Seminar, held in wished the duo well. In May 2006, in the wedding ceremony. Also in Maria Guénette (MM ’04, January in New York. Sean, currently Katrina performed, taught, and pre- attendance: Beth Meyers (BM ’00, DMA ’06) is vocal coach and staff conductor of the Young Musicians sented vocal master classes for the MM ’02); Ryan Powers (BM ’01); accompanist at Greensboro College Foundation Debut Orchestra in Los University of Brasilia, the Thomas Robert Wood (BM ’01).” Julia is and North Carolina School of the Angeles, was also invited to make Jefferson Hall and Federation of Associate Manager of Program Arts. Her recent concerts included a his debut this summer with the Choirs (both in Brasilia), and the Planning at Carnegie Hall; Mike is baroque chamber music concert at Cleveland Orchestra at the Bloom University of Goiania.

July 2006 | Eastman Notes 37 FACULTY NOTES

The Eastman Trombone Choir’s 2006 spring tour included visits to Gettysburg, PA, Washington, DC, and Fort Meyer, VA, where the group performed for the Eastern Trombone Workshop. On March 19, the Trombone Choir presented a concert and participated in the services at the National Presbyterian Church, where the audience included Senator John Glenn and his wife Annie (an organist and trombonist), shown here with Professor of Trombone John Marcellus.

Assistant professor of music edu- expertise in music and in market- Mercury Opera’s production of The Eastman Brass—trumpeters cation Christopher Azzara and ing last November, when she gave Puccini’s Madama Butterfly in January James Thompson and Douglas Professor of music education a presentation to the National in the Eastman Theatre. Conducting Prosser, hornist Peter Kurau, trom- (and department chair) Richard Association of American Summer the Rochester Philharmonic was bonist John Marcellus, and tubist Grunow’s book/CD set Developing Sessions in Philadelphia. “Stalking Distinguished Professor of Voice Donald Harry, all Eastman faculty Musicianship through Improvisation the Wild Tambour de Basque” was a Benton Hess. members—celebrated the recent was published in spring 2006 by GIA look at Eastman’s unique marketing 250th birthday of Wolfgang Mozart Publications of Chicago. The musi- strategies for its Summer Sessions, Two Eastman faculty members have with a Fanfare for Mozart, per- cians on the accompanying CDs including “particle marketing” devel- been selected for the University formed January 27 at the University include Eastman’s Bob Sneider, Jeff oped by Ruth—whose lecture also of Rochester’s Bridging Fellows of Toronto. The concert was part Campbell, John Beck, Clay Jenkins, included a percussion performance! program, which permits scholars to of the Third Toronto International Ray Ricker, and Mark Kellogg. try new academic ventures outside Chamber Music Festival. The Professor of Piano Tony Caramia’s their areas of expertise. Harold Eastman Brass followed the Fanfare In March 2006, Professor of new CD, Tribute, features the music Danko, Chair of the Department with one of Amadeus’ greatest hits, Percussion John Beck presented of such jazz luminaries as Duke of Jazz Studies and Contemporary the overture to Le Nozze di Figaro, clinics and performed a timpani con- Ellington, Marian McPartland, Media, will join Joyce McDonough, and ended the concert with a diver- certo at the University of Central and Dave Brubeck, chair of the UR’s timento by one of his greatest fans, Arkansas Percussion Festival, fol- as well as songs by Department of Gioacchino Rossini. lowing that with a residency at the Harold Arlen, George Linguistics, in a study Lithuanian Academy of Music and Gershwin, Jimmy Van of jazz improvisation Associate Professor of Musicology Theatre, where he gave lessons and Heusen, and others— and intonation. Roger Freitas’ edition of the 15 clinics and performed a recital. His including an arrange- Harold will create a Italian chamber cantatas attribut- 2005-2006 publications include ment of a Beethoven performance work for able to the castrato singer and com- Fanfare for the Common Percussionist, sonata movement by students of linguistics poser Atto Melani (1626–1714) was Big Kettles, and Intermediate Snare ESM jazz professor and jazz. A Bridging recently published by A-R Editions of Drum Duets. Bill Dobbins, and three new, origi- Fellowship will also allow Patrick Middleton, Wisconsin. Roger writes: nal compositions. It is also a trib- Macey, Professor of Musicology, “The cantatas themselves were prob- Kathleen Bride, Professor of Harp, ute, says Caramia, to the piano itself, to take courses in the Department ably composed just past the middle played the Toy Fantasy for two harps which has given him “innumerable of History this fall to extend his of the century, and … are mostly and orchestra by ESM graduate moments of ecstasy, introspection, knowledge of 19th-century German scored for soprano and basso con- David Cutler (MM ’96), in a concert tenderness, happiness, and educa- politics and culture, enhancing his tinuo (there is one piece for bass). at the Cincinnati Conservatory on tion.” Tribute is available exclusively teaching of courses on German and The edition is interesting not only for February 13, 2006. at [email protected]. Austrian music. Patrick will work the variety and beauty of the music, with UR history professor Celia but also because it makes available Ruth Cahn, director of Eastman’s Assistant Professor of Voice Kathryn Applegate, who was a Bridging the complete known works of an Summer Session, showed off her Cowdrick appeared as Suzuki in Fellow at Eastman in spring 2005. important musical figure … though

38 Eastman Notes | July 2006 PHOTOGRAPH courtesy John Marcellus FACULTY NOTES

his name is not so well-known today, Harrison Birtwistle. His recordings Rebecca at rpinfo@rebeccapenneys. Westminster Choir College, speaking Atto Melani has the best-documented in the past year include Beethoven’s com or visit www.FleurDeSon.com. on “Mozart’s Requiem: A Conductor’s life of any 17th-century musician.” Piano Concerto No. 1 with Stefan Approach.” In June, Bill chaired a Litwin on Telos, favorably reviewed Associate Professor of Composition panel discussion on the training of Professor of Composition David in the German press; John Zorn’s Carlos Sanchez-Gutierrez is one conductors in the 21st Century at Liptak had many performances in Rituals and Mysterium, on Tzadik; and of nine composers to be awarded the national conference of Chorus the first part of 2006. On February Insomniac, a collection of his own commissions from The Serge America in Washington, D.C., and 4 and 5, The Tarab Cello Ensemble music, also on Tzadik. For more infor- Koussevitsky Music Foundation in he was recently interviewed on the performed his Broken Cries at the mation see www.bradlubman.com. the Library of Congress. Carlos’ com- training of choral conductors for the Phillips Academy and in Boston, MA; mission is to be premiered by the Summer 2006 issue of the Voice of his song cycle Under the Resurrection Associate Professor of Anthropology Syracuse Society for New Music—a Chorus America. Palm was performed by baritone and Religion Ernestine McHugh group that over the years has per- Thomas Meglioranza (MM ’95) and presented her paper “In the Body formed music by many Eastman com- Musicology department chair violinist Jessica Lee on February 9 of a Woman: Globalization, imag- posers. The Koussevitsky Foundation, Gretchen Wheelock was a guest at New York’s Symphony Space; and ined lives, and the construction of named after the famed conductor at a Yale University conference last cellist Florent Rernard Peyen played self in Nepal” at the annual meeting and music director of the Boston December honoring Leon Plantinga his solo piece A Bridge Across Spaces of the American Anthropological Symphony orchestra (1924-1949), and Robert Morgan. Her invited at Hamilton College on February Association in November 2005. has previously commissioned such paper was “Constructions of the 25. David gave seminars at Boston modern classics as Bartók’s Concerto Seemingly Improvised: Haydn University, and heard a performance On November 11, 2005, Bowling for Orchestra, Copland’s Symphony No. and Mozart in Clementi’s Musical of his Commedia, on April 11 and 13. Green State University presented 3, and Britten’s Peter Grimes. Characteristics, Op. 13.” the North American premiere of Professor of Musicology Ralph Francesco Cavalli’s 1648 opera The Professor of Piano Nelita True has In October 2005, Associate Locke recently received a $40,000 Many Loves of Apollo and Daphne. a busy summer of teaching, from Professor of Composition Ricardo grant from the National Endowment Collaborating with the BGSU stu- Canada to China to Salt Lake City Zohn-Muldoon was a guest for the Humanities for assistance dents was Eastman’s own Collegium to Italy to Las Vegas. Nelita also will at Southwestern University’s in writing a book on the depiction Musicum, directed by Paul O’Dette, give recitals with violinist Felicia Celebration of Latin American Arts. and influence of “exotic lands and and conducting was alumna Emily Moye in several Chinese cities Other recent performances include peoples” in western music of all Freeman Brown (DMA ’89). (May 10–June 2), and a solo recital Encounters by the Neue Ensemble kinds, from classical music to film at the Amalfi, Italy, Music Festival Hannover (November 2005); Páramo scores. Ralph is the only University Professor of Piano Rebecca Penneys (July 2–14). by Bent Frequency new Music of Rochester professor to receive an recently released her seventh CD, Ensemble, Atlanta (October 2005); NEH grant this year. Rebecca Penneys & Steinway, with vir- In early March, Professor of Járacas, commissioned by Trio de tuoso pieces by Chopin, Beethoven, Conducting and Ensembles las Américas (August 2005); and Associate Professor of Conducting and Saint-Saëns/Siloti, Liszt, Galuppi, William Weinert led the Eastman Candelabra by the Merida-Ito Duo Ensembles Brad Lubman’s recent Kodály, and Gershwin/Wild. Rebecca Chorale on a tour to Smith College, (July 2005). engagements include the Salzburg, was named a Steinway Artist in 2002, Morristown, New Jersey, and Lucerne, and Ojai (California) and since then has performed many Utica, New York. From February ON THE WEB For regular updates on Festivals; the Venice Biennale; and concerts for Steinway and Sons. For 22–25 he was guest conductor at Eastman faculty members’ concerts, the Budapest Autumn Festival. In information on ordering Rebecca the Lawrence University Choral lectures, publications, and other 2005, he also participated in birth- Penneys & Steinway (and to hear Festival in Appleton, Wisconsin, and activities, visit www.esm.rochester. day tributes to Pierre Boulez and Sir an excerpt from the CD), contact on April 1 was a guest lecturer at edu/faculty.

Gimme an E! Usually seen somewhere outside an organ, the members of Eastman’s organ faculty are shown here inside the Kilbourn Hall organ (above the stage), spelling out their favorite acronym with recently discovered electrical light- up letters from the original Eastman Theatre marquee. EROI, of course, stands for Eastman Rochester Organ Initiative, the project to make Rochester a world center for organ music and research. This year’s EROI Festival, from October 12–15, kicks off a campaign to renovate this very organ, a 1921 instrument by E.M. Skinner, whose life and work is a focal point of the Festival. (For more, see www.esm.rochester.edu/EROI.) From left to right: Hans Davidsson, Rob Kerner, David Higgs, William Porter.

PHOTOGRAPH courtesy David Higgs STUDENT NOTES

Young-Hyun Cho, doctoral student in Vienna. In March, his new compo- ceremony, he became the first Cuban Jason Chai-Soong Wang, a doc- in piano of Nelita True, was one of sition, Miongháire, was premiered at musician to receive a Bachelor’s toral student of Alan Harris (also the final soloists for the Orchestral Carnegie Hall by the North Hardin degree from the Eastman School. MM ’05), has been named section Festival, one of the largest music High School Band, Radcliff, KY, of cello in the Rochester Philharmonic festivals in Korea. On April 6, 2006, which Danny is an alumnus and for- Martin H. Seggelke was appointed Orchestra. He replaces Eastman she performed Rachmaninoff’s mer director. Director of Wind Ensembles at the alumnus Peter Wukovitz (BM ’68; Second Concerto with Shinik Hahm University of Minnesota at Morris. see Alumni Notes). Jason served and the Daejeon Philharmonic in Violinist Anat Kardonchik, a soph- as a substitute player in the RPO the Concert Hall of the Seoul Arts omore student of Zvi Zeitlin and Zach Wadsworth’s A Sabbath before winning the permanent post; Center. The Korean Broadcasting Mikhail Kopelman, was a featured Morning at Sea, commissioned he is also a member of the Cayuga System broadcast her performance soloist in the winter concert of the by Rochester’s The Commission Chamber Orchestra. Jason won and interview on TV and radio. El Camino (CA) Youth Sinfonietta. Project (TCP), was performed on a First Honorable Mention in the Young-Hyun performed Beethoven’s Anat, who previously played the the Eastman Chorale’s recent tour, 2005 Heida Hermanns International First Concerto with the Eurasian Mendelssohn Concerto with this which included performances in String Competition. Philharmonic and conductor Nanse orchestra, performed the opening public schools, which also received Keumat at the Naran Art Center movement of Mozart’s Concerto copies of Zach’s music. TCP also The ViM Saxophone Quartet— on May 12. No. 4 and “La Campanella” from commissioned Jacob Bancks whose members are Kristin the Paganini Second Concerto. Last (MM ’06) to write Ancient Sounds Rarick, Michael Matlock, Masters student Bin Huang year, Anat received a scholarship to for the Eastman Wind Ensemble, Dimitrios Kostaras, and Richard and doctoral student Xi Zhang, the 2005 Music Academy of the West which was similarly distributed to Miserendino—won two major students of Zvi Zeitlin and Barry Summer Festival in Santa Barbara. 15 bands in a dozen schools. TCP’s chamber music competitions this Snyder, presented a recital on May Ned Corman (BM ’59) estimates spring: the Fischoff Competition, 2 as part of the Kennedy Center’s Andrew Larson, a sophomore stu- that about 1500 high musicians were and the Music Teachers National Conservatory Project. The violin- dent of David Ying, was selected exposed to Zach’s and Jake’s music. Association (MTNA) Competition, piano duo presented a program for the 2005 New York String Jake also won a 2006 BMI Student making them and their teacher, of music by Vivaldi, Beethoven, Orchestra—one of only eight cellists Composer Award, given on May 22 Chien-Kwan Lin, very happy. ViM Paganini, and Kreisler. selected nationally. in New York City. He is a Century will perform with the Eastman Wind Fellow at the University of Chicago, Ensemble next year, and in the Danny Jenkins, PhD student in Jonghwa Park, a current DMA where he begins doctoral studies MTNA Winner’s Recital in Toronto music theory, spent the 2005-2006 piano student (also MM ’05), was in September. in March 2007. school year in Vienna on a Fulbright one of the winners in the Bradshaw research grant. Danny consulted and Buono International Piano Freshman horn major Patrick Walle, source documents at the Arnold Competition. She will perform in the a student of Peter Kurau, per- ON THE WEB Notes can’t keep up Schoenberg Center for his disserta- winners’ recital at Carnegie Hall in formed Richard Strauss’s Concerto with all the awards, honors, and high- tion on Schoenberg’s atonal-period October 2006. No. 1 on February 2, 2006, with profile recitals of Eastman students, vocal music. In December, he rep- the Oakland County (MI) Youth but luckily the School’s website can! resented Eastman and the United When violinist Sandro Leal- Symphony, as winner of the Oakland For full, updated information on stu- States in a recital of international Santiesteban received his BM Youth Orchestra Solo and Concerto dent honors, visit www.esm.rochester. students at the University of Music degree at the 2006 Commencement Competition. edu/news/honors_2006.php.

Guiding lights

Eastman’s student Ambassadors represent the School to visitors, alumni, and the community, and this year’s class, as always, did an excellent job. Pictured left to right are Ryan Glick (BM ’08, voice), Jeff Willy (BM ’06, percussion), Mary Counts (BM ’06, harp), Yea Eun Park (MM ’07, organ), Richard Chen (BM ’08, bassoon), Tom Vendafreddo (BM ’08, voice), Paul Hopper (BM ’09, voice), Andrew Stephenson (BM ’07, horn), Lauren Iezzi (BM ’09, voice/music education), Mike Matlock (BM ’07, saxophone/music education), and Jason Holmes (BM ’07, voice/music education). You’ll see many of these smiling faces this fall during Eastman Weekend.

PHOTOGRAPH BY Nathan Martel Photograph (1933) Courtesy Sibley Music Library Archive.

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EF20sAd.indd 1 7/23/06 3:47:12 PM Meeting the Challenge

On February 1, many of the members of Eastman’s Class of 2006 gathered in the Main Hall for a senior class photograph. The event also served as a kickoff for Eastman’s latest giving tradition, the Senior Challenge. 47% of the class participated by making a gift to the Eastman Fund’s Unrestricted Scholarship Fund—a fund, of course, from which many students benefited during their time at Eastman. All Eastman seniors received a copy of the Class of 2006 photo before graduation in May, and the photo is part of a Senior Challenge plaque in the Student Living Center.

Impressed by the class’s enthusiasm, Eastman Board of Managers member Dr. George Abraham made a gift that tripled the funds raised by the seniors, bringing the Senior Class Gift to an impressive $2,384. (Dr. Abraham is the first person in the first row, in front of outgoing Dean James Undercofler.) The Class of 2007 gets its turn starting next fall!

PHOTOGRAPH BY KURT BROWNELL

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